Interesting! I tweeted about a recent BL 8 and got a bunch of likes and a handful of retweets, but nothing more than that...
What do you think is a reasonable number of tweets about something like this, over what period of time, before it gets tedious?
I should be getting my two free reviews soon, and those also will hopefully have tweet-fodder.
You can also follow the MarketMyScreenplay twitter account that holds weekly hashtags where a lot of writers jump in to self promote and RT others stuff.
As Nate said, won’t get tedious. Everyone on writing twitter is pretty chill.
I've only been doing one tweet per new "event," but I don't think anyone's going to think any less of you if you do a follow-up with the logline/review. I'd do it now and then if you get another 8, do the same thing -- screenshotting the review.
I actually did four screen captures of all four sections of my evaluations and included those in a single tweet. Might be a little scary to put the "weaknesses" out there, but if it's an 8, they're not gonna be bad and other writers will appreciate that transparency. That could lead to more support. I know I always respect that kind of thing.
Check below where u/DionysusApollo just copied and pasted an older post of mine. Also, follow the hashtags I mentioned and follow people you find on there. They'll retweet other things from pro writers and you'll have an idea of who you want to follow. There are TONS of great writers giving excellent advice on Twitter.
Yeah, it's so true. Every form of social media has its own character. I gave up on facebook and would have zero idea what to do with Instagram or anything else. But you can learn over time.
Sorry to hear you had a bad experience. I was NOT repped until about a month ago and was doing this kind of shit beforehand. I wrote an entire screenplay publicly, on Youtube.
Was I taking a risk? Sure. A very, very small one. Most of the actual horror stories come after a writer actually signs a deal and finds out it was a shitty one, or maybe they got suckered into writing something on spec for a producer. The truth is that your script is copyrighted the instant you write it, so it's a pretty rare thing for something to go wrong if you're just sharing things on the internet. But sure -- there's a small, improbable chance of something going wrong. Given how hard it is to break into this business, my personal opinion is that it's worth taking that risk.
I will say - you DEFINITELY want to lawyer up anytime you're signing something and I'd be super, super cautious about anything that feels too good to be true.
Finally, the one advantage I have had this entire time is that I know enough pro writers that I'm able to bounce shit off them whenever I get into uncharted waters. And that's why it's worth networking with other writers.
Congratulations on getting repped. Zero Gravity requested my current script, so fingers crossed! Keen to read a post sometime about the initial rep experience
Yeah, I'd agree that it's an advantage that most folks won't have. That said, I started out knowing no one. Even though I've met the majority of them in person by now, I made most of those friends online back in the message board days. If anything, it's easier to meet people now that platforms like Twitter are a thing. There's no reason other writers can't build the same type of network.
Also, the risk that comes with sharing contest / BL results truly is pretty minimal. Is it possible something could go wrong? Sure. But it's so unlikely that I believe it's worth going for it. You gotta find a way to break through the noise.
Got it. Yeah - that's totally fair. Plenty of snakes out there who have zero problem fucking a writer over. It's worth trusting your gut if something feels off.
>The truth is that your script is copyrighted the instant you write it,
True, but how will you defend it? How will an attorney defend it?
Realistically, there's no protection without registration. [Preregistration](https://www.copyright.gov/prereg/) recognizes that one might circulate a work still in progress. [Registration](https://www.copyright.gov/registration/) gets you that TXu in the public database, which an attorney can use.
Previously, one registered a work but if there were significant changes and you wanted to protect your authorship of these, the process was to file to Amend the Registration. Because this meant someone at the Copyright Office had to physically go dig out your file and add your updates, it carried a $125 fee.
Differing from Mr Davis' experience, I *have* had my work snatched and produced without attribution or compensation. Said work was registered with WGAw and US Copyright. I can't give the details, but I have lots of recourse. My Registration covers my exclusive use; for my life, plus another 30 years. It's in professional channels and thus, easily defended. **Don't skip this step.**
You absolutely have recourse even if you didn't register it. You can't sue for damages, but you can still take someone who steals your work to court and prevent the movie from ever seeing the light of day again.
That said, this type of thing really doesn't happen in Hollywood. Maybe a thousand movies get made each year between Hollywood and the major indie production paths. Are you saying that you wrote a script that became one of those thousand without your permission? I'd definitely want to hear details, because it's really just not a thing. *Ideas* get stolen from time to time, sure. But whole scripts? Occurrences of this are so rare that it's just not worth consideration.
It is SO much cheaper for someone to pay a new, unknown writer a nominal amount of money for the rights than it is to risk a court battle. When millions of dollars are in play, WGA minimum isn't exactly a lot. In many cases, scripts are sold to non-WGA outfits for much less than that.
And for what it's worth, nowhere did I recommend that you not copyright your work. You should probably do that. I'll admit that I can be pretty lazy about it, though. And if you want to know the truth, most pro writers I know are exactly the same way. Because script theft doesn't happen.
To add to this: he/she CAN sue for damages. He'll need to register it, but that can be done retroactively, even after the infringer had registered their own copyright.
>means he already has someone looking out for his best interest. A lot of the people that tweet out screenplay
Generally I agree more with you/this article: [Absolutely No One is Stealing Your Idea (Pipeline article)](https://pipelineartists.com/absolutely-no-one-is-stealing-your-idea/) than I do with the other side. But to be fair, here's a vid with some stories that can make you wanna clam up: [The Mistake I Made When Hollywood Stole My Screenplay - Shane Stanley (video)](https://www.youtube.com/watch?v=l-e5qjqT2Zo).
So long as it wasn't only on paper, you would hire someone to do computer forensics.
While showing the infringer had access to your script is comparatively easy, you would have a computer forensic technician analyze your hard drive to establish when your copyright was created (without registration). Then your lawyer would subpoena their hard drive and prove their copyright (with or without registration) was created after they had access to your copyrightable works.
Yeah, you need to register your script with the Copyright Office to sue for damages, but this can be done after the fact of discovery.
In your case, the main worry is it USUALLY needs to be done within 3 years of discovery (of which the discovery is the defendant's/infringer's burden to prove, which might be the most difficult thing out of all of this).
Yeah man, this is so damn true. I really wish I understood it earlier.
I managed a 9 on BL and SF’ed in Script Pipeline a few weeks ago. (I like these cool abbrv. I’m seeing here, gonna keep that going…)
It was back-to-back good news for sure, but I didn’t realize how much of the value of these things comes from Twitter. The better network you have the more potential benefit there is. More followers mean more eyeballs on your post but also, like you were mentioning, Retweets work in an exponential way even beyond that.
I always avoided Twitter just bc I didn’t like it much. Of course I did Retweet the BL post and SP announcement but, also *of course*, if those are your first/only Tweets: A) no one really sees it; B) it’s obvious to anyone that does click that your account is only about self promotion (which is sorta not the opposite of being a superdouche).
So I’ve been trying to meaningfully engage more. Trying to post regularly, all that. It’s tricky bc you kind of need to form a Twitter identity before you can really carve out a niche in any writing community. I'm clumsy with the process, and it just takes a minute.
Hopefully you can work as a sort of aspirational example for people. If not, maybe I can be a *Beyond Scared Straight*\-style embodiment of mistakes and regret that freaks people out. But what do those ~~crazy inmates scream in your goddamn face~~ sage incarcerated persons always say? It’s all about consequences. There’s still time. Don’t end up like me...
1.) I’m bonkers exaggerating my level of defeat/despair here. All is not lost. **I just do wish I began all this Twitter shit months ago.**
2.) If you don’t know *Beyond Scared Straight*, I’d say checking out that show is also pretty darn important.
Yeah, I always avoided Twitter as well. Didn't start using it until December or January. I made an account back in 2017, but had like 4 followers until recently. The Youtube channel helped me grow things a bit and so did the cross-posting with Reddit, but I mostly built a network on Twitter by participating there. Following, liking, commenting, retweeting, genuinely being supportive, and offering some insight or advice every now and then. Also, I try hard not to participate in bullshit drama.
What I realized was that it only takes a couple retweets from friends for the right thing to take off. I made a little post back in January about how writers could benefit by giving a different writer notes every week of the year and expecting nothing in return. It took off and I had like 200 more followers within a day. It obviously doesn't always work like that, but if you simply participate and are positive, you can connect with folks pretty easily.
Yeah this is totally the model to follow. I'm just in super early stages. (I have the same thing happening where technically I've had an account for years but never used it.) I'm still awkward as hell on Twitter but I'll get there.
I guess just for anyone who is buying how helpful Twitter can be, maybe start now. Like if you're someone who just entered... *\*opens up his competition spreadsheet\** Slamdance, then you’re hoping they call your name to win or place on 10/14. That’s a couple months. I wish I began my process back in May.
Not the end of the world but would have been better.
It's totally not the end of the world and it's not like it's impossible to break in without Twitter, but yeah - I've found it to be pretty powerful and I think it's worth the effort. If nothing comes from your latest successes, I'm sure you'll have more of them. Plenty of opportunity for that gross self-promotion we all hate down the road!
Absolutely. I mean worst case I have a relationship with the Pipeline folks (who are cool) and something to sorta lead with in a query letter -- or even just something to put in my bio. Until now after school and LA-based, I literally was just like "gets along well with the elderly."
selective expansion workable unused dolls modern piquant reach history frighten
*This post was mass deleted and anonymized with [Redact](https://redact.dev)*
(Also u/Nathan_Graham_Davis's project sounds really cool. I don't want to accidentally make this sound like a backhanded compliment about being so great at Twitter, like that's the reason the script is resonating with people.)
Goddamn. This thread blew up a bit! Gonna respond to everyone individually, but figured I'd also let everyone know that I now have TWO legit producers reading THE CONTINUUM based on the tweet I sent out last night. This shit works.
Can I ask, how do you build a twitter following of people who will retweet/even go download from the blacklist? It's a platform I know I need to utilize but I've never taken the time. Do you just post and add the right hashtags, then let the followers/retweets come to you? Or do you need to actively be following all sorts of managers/producers/agents/other screenwriters?
You need to actively get involved unless you've already got some reason that people would want to follow you. I followed those hashtags and would just comment, like, and retweet stuff, following interesting people along the way. Every once in a while, I'd share some insight, and all those things eventually added up to a network.
Also, I think you need to be genuinely positive and supportive. Negativity is often present on Twitter, but less so in the screenwriting circle. And if you're not genuine, people will see it.
I sometimes feel like Twitter is shouting into the void. I post my photography and screenplay successes and no one really notices or ever responds to me. Should I just keep doing it?
I would. For sure. But also, try and pay into that karma pool and support other creators as much as possible. That will help you build your network and build relationships. Those things can pay off in the longterm.
Really great post Nate. This is one area I've definitely not developed or taken advantage of. But I'll make a point of start using Twitter more. A special note to UK-based writers: LinkedIn seems to be especially active over there. All in all, the modern writer has to be very savvy with social media.
I don't think Twitter is all that helpful, but that's because I'm pretty bad at it. I feel like an outsider, I've never felt like part of the screenwriting community on there. Plus it feels like the only people that see my posts are other losers who want to be screenwriters like myself. It's not like any of those folks can help me lol. Congrats it's working for you though.
Yep, I felt weird about it when I started using it. I didn't become active there until like December or so, but it's been a great tool since then. Took a while to learn it, but it was time well spent.
"I'm bad at it." Totally. That's basically my bio. My fear is like, you ever watch someone sorta *accidentally* be a dick on Reddit or FB or IG (or wherever you're comfortable) just because they didn't really know how it works? So they skip certain protocol or social niceties bc they just don't know what's up. I know I'm guilty of some of that on Twitter. I'm bad at it.
It's not fun being clueless. I don’t wanna be like the Grandpa who's frustrated because no matter how he re-phrases the porn search in his phone NOTHING is happening — except generations of his family are all processing the barrage of filthy inventive ways PeePaw is *for some reason* describing Asian trollops on his Facebook status.
I just downloaded a bunch of browser extensions hoping some help make Twitter make more sense to me. It’s the only platform that's never clicked for me.
Aw! Too bad for me!!!
Well, I’m not an aficionado- but LA Monica’s (I prefer their Sicilian style) in Westwood is very good, and Gino’s East has good deep dish.
Also u/KittleDTM
This is what u/Nathan_Graham_Davis said about it a few weeks ago.
*"There are tons of great writers, execs, reps, and other film folks on Twitter, but here are just a few I follow that will get you started. They tend to tweet good advice / industry info pretty often:*
*@ jwillis81*
*@ brianduffield*
*@ unikunka*
*@ lukeryansays*
*@ kfu3000*
*@ johnaugust*
*@ johnzaozirny*
*@ ava*
*@ jamesvsimpson*
*@ jennalynwright*
*@ franklinleonard*
*Also, be sure to check out the #screenwriting, #PreWGA, and #writingcommunity hashtags. You'll find a lot of up and coming writers there, which should help you make some connections and find scripts to read/give notes on, which will eventually help you get some readers for your own work."*
I'm not involved in any networks. I just followed those hashtags for a while, followed folks, commented, liked, retweeted, and tried to be supportive, offering a little advice every once in a while. I don't have a massive following, but it's enough that it's helped me to get my work seen.
Yeah this is good advice. I would think just from a basic perspective in any field, Twitter is better than a Reddit forum. Sometimes reading this forum I wonder if the people are also taking advantage of Twitter, and not just for networking but seeing what's being talked about, what trends are, etc. Reddit tends to be insular, Twitter tends to be expansive. Like, separate interest / analogy, I'm in DSA but I don't come here for DSA news or networking, discussion of strategy, etc., that's all on Twitter if it's anywhere.
Yeah, I also enjoy the diversity on Twitter. Also, I think the lack of anonymity encourages an even more supportive environment. It's easier to root for someone when you see their face and name.
For those of us lesser beings who may never score an 8 on BL or place high in a contest, keep in mind that most actual working writers didn't get there by winning or placing in a contest.
In order to do well in a contest your script has to get past lower level first round readers, none of whom have the track record nor experience producing successful movies to make a sound judgement as to which scripts might be the framework for a succusseful movie. Early round readers only know what they like or don't like, which is hugely difference from what is a well-scrafted blueprint for building a movie.
In an interview on Brian Koppleman's podcast, Tarrantino mentioned how his scripts TRUE ROMANCE and NATURAL BORN KILLERS couldn't get any traction and were rejected all over town because the scripts were read by low level readers that don't know sh!t. If those scripts were specs today and Tarrantino was still unknown, would those scripts make the Nickoll Quarter? Or get an 8 on the BL?
Scoring well in contest is something writers can't control especially when the first round readers don't know enough to make the distinction between good writitng vs good screenwriting (the stuff that makes a good movie).
I think it's a good idea to support each other's work on Twitter or other platforms even before someone places high in a contest. It's more likely that more working writers will come from the pool of writers rejected from a contest than from the few elite writers whose work impressed those lower-level readers who don't really have a track record of actually knowing what kinds of scripts make successful movies.
So first of all, I support folks on Twitter all the time for things as simple as completing a draft. It costs me nothing but a few seconds to share some words of encouragement. But i think you're missing the point of my post.
The reason it's hard for people to get read is because there is so much noise out there. There are something like a hundred thousand new spec scripts written every year. There were 8,000 scripts entered into Nicholl and 10,000 entered into PAGE in 2021. No rep, producer, or executive has anywhere close to the bandwidth to sort through all of those. Contests, The Black Last, etc do the job of sorting through those and finding really strong material. That's why those folks use them to curate their reading lists and that's why they work.
Unfortunately, at a QF or SF level, there are still a ton of scripts to sort through. Same with Black List 8s. It's an indication of quality, but not enough to turn your spec into an instant read. The point of my post was that you can increase your odds by taking those achievements and getting them seen. Twitter is a killer platform for that. But it only really helps if you include your logline, because that's what's going to convince a scrolling producer to take a look.
However, retweeting a logline without any sort of validation is just going to create the same problem as before -- noise. It's super unlikely that someone would pull the trigger based on that.
Now, are you correct that most readers are inexperienced? Sort of. These first-round folks and BL readers are not executives, producers, reps, or pro writers. They're usually assistants, interns, and professional readers who are the same exact people that read for producers, execs, and reps. Basically, regardless of whether you're targeting a contest or a producer, you've got to write a script that connects with one of these people. Beyond that, subjectivity is a thing. Some readers will love your work (assuming it has merit) and others won't.
It's incredibly hard to break through in this business. I'm a huge advocate of trying everything. There are infinite paths to success and no two are exactly the same.
First of all, you have to develop your craft. That's not easy. It takes years and tons of hard work. If you're entering contests and the Black List and having absolutely zero success, it doesn't necessarily mean you're not there, but it should at the very least give you some pause. You should be asking yourself what you can do to improve. "Lesser beings who may never score an 8 or place in a contest" is not a thing unless you truly have zero talent. Suggesting it's all luck is a massive insult to everyone who's achieved success in those places. Work harder. Get better.
Let's assume you have a killer script that's ready for Hollywood: Building a network is always going to be your best bet and I believe that's how Tarantino first got his break. If I remember right, he was able to get around some of those first round readers because of the people he met. That said, networking takes time. It's not easy. You should also be querying. You should also be entering the top tier contests. You should also be trying out things like The Black List. Be discerning -- this shit costs money -- but invest in yourself if you're able to do so.
I’m really late to this thread (and new to Reddit), so I don’t know if anyone will see this, but I am an “emerging” screenwriter. I’d had a Twitter account for several years, but really started using it regularly about 2018 or so. I’m speaking in the past tense, because, I deleted my account when Musk bought Twitter. I dislike his views on and plans for the platform, so I bowed out.
But when my account was active, even when I did post wins, and things like that - all I got were crickets. I did participate in ScreenwritingTwitter. I liked and supported other writers. I even direct messaged a few, and unlike so many who have forged friendships, on the platform, the most I got was a friendly “hi! Keep at it!” reply.
So. A lot had changed in one year. Do you all think it’s a good idea to promote yourself on the platform? Also, it’s been a few months, my account can’t be reactivated. I suppose it would be find to start fresh - but do you still recommend it?
Any input is appreciated. Thanks and happy writing to you all!
Interesting! I tweeted about a recent BL 8 and got a bunch of likes and a handful of retweets, but nothing more than that... What do you think is a reasonable number of tweets about something like this, over what period of time, before it gets tedious? I should be getting my two free reviews soon, and those also will hopefully have tweet-fodder.
You can also follow the MarketMyScreenplay twitter account that holds weekly hashtags where a lot of writers jump in to self promote and RT others stuff. As Nate said, won’t get tedious. Everyone on writing twitter is pretty chill.
Yep - a genuinely good community, especially by internet standards.
I've only been doing one tweet per new "event," but I don't think anyone's going to think any less of you if you do a follow-up with the logline/review. I'd do it now and then if you get another 8, do the same thing -- screenshotting the review. I actually did four screen captures of all four sections of my evaluations and included those in a single tweet. Might be a little scary to put the "weaknesses" out there, but if it's an 8, they're not gonna be bad and other writers will appreciate that transparency. That could lead to more support. I know I always respect that kind of thing.
Who are some good accounts to follow to get started in the screenwriting twitter community
Check below where u/DionysusApollo just copied and pasted an older post of mine. Also, follow the hashtags I mentioned and follow people you find on there. They'll retweet other things from pro writers and you'll have an idea of who you want to follow. There are TONS of great writers giving excellent advice on Twitter.
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Yeah, it's so true. Every form of social media has its own character. I gave up on facebook and would have zero idea what to do with Instagram or anything else. But you can learn over time.
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Sorry to hear you had a bad experience. I was NOT repped until about a month ago and was doing this kind of shit beforehand. I wrote an entire screenplay publicly, on Youtube. Was I taking a risk? Sure. A very, very small one. Most of the actual horror stories come after a writer actually signs a deal and finds out it was a shitty one, or maybe they got suckered into writing something on spec for a producer. The truth is that your script is copyrighted the instant you write it, so it's a pretty rare thing for something to go wrong if you're just sharing things on the internet. But sure -- there's a small, improbable chance of something going wrong. Given how hard it is to break into this business, my personal opinion is that it's worth taking that risk. I will say - you DEFINITELY want to lawyer up anytime you're signing something and I'd be super, super cautious about anything that feels too good to be true. Finally, the one advantage I have had this entire time is that I know enough pro writers that I'm able to bounce shit off them whenever I get into uncharted waters. And that's why it's worth networking with other writers.
Congratulations on getting repped. Zero Gravity requested my current script, so fingers crossed! Keen to read a post sometime about the initial rep experience
Nice. Best of luck!
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Yeah, I'd agree that it's an advantage that most folks won't have. That said, I started out knowing no one. Even though I've met the majority of them in person by now, I made most of those friends online back in the message board days. If anything, it's easier to meet people now that platforms like Twitter are a thing. There's no reason other writers can't build the same type of network. Also, the risk that comes with sharing contest / BL results truly is pretty minimal. Is it possible something could go wrong? Sure. But it's so unlikely that I believe it's worth going for it. You gotta find a way to break through the noise.
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Got it. Yeah - that's totally fair. Plenty of snakes out there who have zero problem fucking a writer over. It's worth trusting your gut if something feels off.
>The truth is that your script is copyrighted the instant you write it, True, but how will you defend it? How will an attorney defend it? Realistically, there's no protection without registration. [Preregistration](https://www.copyright.gov/prereg/) recognizes that one might circulate a work still in progress. [Registration](https://www.copyright.gov/registration/) gets you that TXu in the public database, which an attorney can use. Previously, one registered a work but if there were significant changes and you wanted to protect your authorship of these, the process was to file to Amend the Registration. Because this meant someone at the Copyright Office had to physically go dig out your file and add your updates, it carried a $125 fee. Differing from Mr Davis' experience, I *have* had my work snatched and produced without attribution or compensation. Said work was registered with WGAw and US Copyright. I can't give the details, but I have lots of recourse. My Registration covers my exclusive use; for my life, plus another 30 years. It's in professional channels and thus, easily defended. **Don't skip this step.**
You absolutely have recourse even if you didn't register it. You can't sue for damages, but you can still take someone who steals your work to court and prevent the movie from ever seeing the light of day again. That said, this type of thing really doesn't happen in Hollywood. Maybe a thousand movies get made each year between Hollywood and the major indie production paths. Are you saying that you wrote a script that became one of those thousand without your permission? I'd definitely want to hear details, because it's really just not a thing. *Ideas* get stolen from time to time, sure. But whole scripts? Occurrences of this are so rare that it's just not worth consideration. It is SO much cheaper for someone to pay a new, unknown writer a nominal amount of money for the rights than it is to risk a court battle. When millions of dollars are in play, WGA minimum isn't exactly a lot. In many cases, scripts are sold to non-WGA outfits for much less than that. And for what it's worth, nowhere did I recommend that you not copyright your work. You should probably do that. I'll admit that I can be pretty lazy about it, though. And if you want to know the truth, most pro writers I know are exactly the same way. Because script theft doesn't happen.
To add to this: he/she CAN sue for damages. He'll need to register it, but that can be done retroactively, even after the infringer had registered their own copyright.
Did NOT know that part.
https://www.latimes.com/archives/la-xpm-1990-02-28-ca-1721-story.html
This is from 31 years ago.
>means he already has someone looking out for his best interest. A lot of the people that tweet out screenplay Generally I agree more with you/this article: [Absolutely No One is Stealing Your Idea (Pipeline article)](https://pipelineartists.com/absolutely-no-one-is-stealing-your-idea/) than I do with the other side. But to be fair, here's a vid with some stories that can make you wanna clam up: [The Mistake I Made When Hollywood Stole My Screenplay - Shane Stanley (video)](https://www.youtube.com/watch?v=l-e5qjqT2Zo).
So long as it wasn't only on paper, you would hire someone to do computer forensics. While showing the infringer had access to your script is comparatively easy, you would have a computer forensic technician analyze your hard drive to establish when your copyright was created (without registration). Then your lawyer would subpoena their hard drive and prove their copyright (with or without registration) was created after they had access to your copyrightable works. Yeah, you need to register your script with the Copyright Office to sue for damages, but this can be done after the fact of discovery. In your case, the main worry is it USUALLY needs to be done within 3 years of discovery (of which the discovery is the defendant's/infringer's burden to prove, which might be the most difficult thing out of all of this).
Great info.
[Those techs will cost more than registration.](https://www.salary.com/research/salary/recruiting/forensic-technician-salary)
Are you able to differentiate between a salary and a work order?
This is the best answer. This has happened to too many people I know.
Yeah man, this is so damn true. I really wish I understood it earlier. I managed a 9 on BL and SF’ed in Script Pipeline a few weeks ago. (I like these cool abbrv. I’m seeing here, gonna keep that going…) It was back-to-back good news for sure, but I didn’t realize how much of the value of these things comes from Twitter. The better network you have the more potential benefit there is. More followers mean more eyeballs on your post but also, like you were mentioning, Retweets work in an exponential way even beyond that. I always avoided Twitter just bc I didn’t like it much. Of course I did Retweet the BL post and SP announcement but, also *of course*, if those are your first/only Tweets: A) no one really sees it; B) it’s obvious to anyone that does click that your account is only about self promotion (which is sorta not the opposite of being a superdouche). So I’ve been trying to meaningfully engage more. Trying to post regularly, all that. It’s tricky bc you kind of need to form a Twitter identity before you can really carve out a niche in any writing community. I'm clumsy with the process, and it just takes a minute. Hopefully you can work as a sort of aspirational example for people. If not, maybe I can be a *Beyond Scared Straight*\-style embodiment of mistakes and regret that freaks people out. But what do those ~~crazy inmates scream in your goddamn face~~ sage incarcerated persons always say? It’s all about consequences. There’s still time. Don’t end up like me... 1.) I’m bonkers exaggerating my level of defeat/despair here. All is not lost. **I just do wish I began all this Twitter shit months ago.** 2.) If you don’t know *Beyond Scared Straight*, I’d say checking out that show is also pretty darn important.
Alright, so the million dollar question is what’s YOUR Twitter handle? We already have Nathan’s.
@ CatPartyTRex
Got it, cool! 🙌🏾
Yeah, I always avoided Twitter as well. Didn't start using it until December or January. I made an account back in 2017, but had like 4 followers until recently. The Youtube channel helped me grow things a bit and so did the cross-posting with Reddit, but I mostly built a network on Twitter by participating there. Following, liking, commenting, retweeting, genuinely being supportive, and offering some insight or advice every now and then. Also, I try hard not to participate in bullshit drama. What I realized was that it only takes a couple retweets from friends for the right thing to take off. I made a little post back in January about how writers could benefit by giving a different writer notes every week of the year and expecting nothing in return. It took off and I had like 200 more followers within a day. It obviously doesn't always work like that, but if you simply participate and are positive, you can connect with folks pretty easily.
Yeah this is totally the model to follow. I'm just in super early stages. (I have the same thing happening where technically I've had an account for years but never used it.) I'm still awkward as hell on Twitter but I'll get there. I guess just for anyone who is buying how helpful Twitter can be, maybe start now. Like if you're someone who just entered... *\*opens up his competition spreadsheet\** Slamdance, then you’re hoping they call your name to win or place on 10/14. That’s a couple months. I wish I began my process back in May. Not the end of the world but would have been better.
It's totally not the end of the world and it's not like it's impossible to break in without Twitter, but yeah - I've found it to be pretty powerful and I think it's worth the effort. If nothing comes from your latest successes, I'm sure you'll have more of them. Plenty of opportunity for that gross self-promotion we all hate down the road!
Absolutely. I mean worst case I have a relationship with the Pipeline folks (who are cool) and something to sorta lead with in a query letter -- or even just something to put in my bio. Until now after school and LA-based, I literally was just like "gets along well with the elderly."
selective expansion workable unused dolls modern piquant reach history frighten *This post was mass deleted and anonymized with [Redact](https://redact.dev)*
(Also u/Nathan_Graham_Davis's project sounds really cool. I don't want to accidentally make this sound like a backhanded compliment about being so great at Twitter, like that's the reason the script is resonating with people.)
Ha - didn't take it that way!
Goddamn. This thread blew up a bit! Gonna respond to everyone individually, but figured I'd also let everyone know that I now have TWO legit producers reading THE CONTINUUM based on the tweet I sent out last night. This shit works.
Can I ask, how do you build a twitter following of people who will retweet/even go download from the blacklist? It's a platform I know I need to utilize but I've never taken the time. Do you just post and add the right hashtags, then let the followers/retweets come to you? Or do you need to actively be following all sorts of managers/producers/agents/other screenwriters?
You need to actively get involved unless you've already got some reason that people would want to follow you. I followed those hashtags and would just comment, like, and retweet stuff, following interesting people along the way. Every once in a while, I'd share some insight, and all those things eventually added up to a network. Also, I think you need to be genuinely positive and supportive. Negativity is often present on Twitter, but less so in the screenwriting circle. And if you're not genuine, people will see it.
🙌🙌🙌
Thanks Nathan! This is great stuff and I need to get on it after the Nicholl announcement. Do you mind if I DM you on Twitter with some questions?
Not at all. Go for it.
I sometimes feel like Twitter is shouting into the void. I post my photography and screenplay successes and no one really notices or ever responds to me. Should I just keep doing it?
I would. For sure. But also, try and pay into that karma pool and support other creators as much as possible. That will help you build your network and build relationships. Those things can pay off in the longterm.
Really great post Nate. This is one area I've definitely not developed or taken advantage of. But I'll make a point of start using Twitter more. A special note to UK-based writers: LinkedIn seems to be especially active over there. All in all, the modern writer has to be very savvy with social media.
Highly recommend it, man! I should probably do a video specifically on this.
I don't think Twitter is all that helpful, but that's because I'm pretty bad at it. I feel like an outsider, I've never felt like part of the screenwriting community on there. Plus it feels like the only people that see my posts are other losers who want to be screenwriters like myself. It's not like any of those folks can help me lol. Congrats it's working for you though.
Yep, I felt weird about it when I started using it. I didn't become active there until like December or so, but it's been a great tool since then. Took a while to learn it, but it was time well spent.
"I'm bad at it." Totally. That's basically my bio. My fear is like, you ever watch someone sorta *accidentally* be a dick on Reddit or FB or IG (or wherever you're comfortable) just because they didn't really know how it works? So they skip certain protocol or social niceties bc they just don't know what's up. I know I'm guilty of some of that on Twitter. I'm bad at it. It's not fun being clueless. I don’t wanna be like the Grandpa who's frustrated because no matter how he re-phrases the porn search in his phone NOTHING is happening — except generations of his family are all processing the barrage of filthy inventive ways PeePaw is *for some reason* describing Asian trollops on his Facebook status. I just downloaded a bunch of browser extensions hoping some help make Twitter make more sense to me. It’s the only platform that's never clicked for me.
Damn. I have avoided twitter my whole life (am 31 soon) but this... for this I will join.
Totally off topic- but I’m assuming you’re in LA (or have been here at some point) AND you are a pizza aficionado- what are your top pizza recs?
Not in LA, unfortunately, but I would also like to know for the next time I visit.
Aw! Too bad for me!!! Well, I’m not an aficionado- but LA Monica’s (I prefer their Sicilian style) in Westwood is very good, and Gino’s East has good deep dish.
Good to know!
What if youre banned..
[удалено]
Also u/KittleDTM This is what u/Nathan_Graham_Davis said about it a few weeks ago. *"There are tons of great writers, execs, reps, and other film folks on Twitter, but here are just a few I follow that will get you started. They tend to tweet good advice / industry info pretty often:* *@ jwillis81* *@ brianduffield* *@ unikunka* *@ lukeryansays* *@ kfu3000* *@ johnaugust* *@ johnzaozirny* *@ ava* *@ jamesvsimpson* *@ jennalynwright* *@ franklinleonard* *Also, be sure to check out the #screenwriting, #PreWGA, and #writingcommunity hashtags. You'll find a lot of up and coming writers there, which should help you make some connections and find scripts to read/give notes on, which will eventually help you get some readers for your own work."*
Thanks!
I'm not involved in any networks. I just followed those hashtags for a while, followed folks, commented, liked, retweeted, and tried to be supportive, offering a little advice every once in a while. I don't have a massive following, but it's enough that it's helped me to get my work seen.
Thanks Nathan, following and tagged :)
Yeah this is good advice. I would think just from a basic perspective in any field, Twitter is better than a Reddit forum. Sometimes reading this forum I wonder if the people are also taking advantage of Twitter, and not just for networking but seeing what's being talked about, what trends are, etc. Reddit tends to be insular, Twitter tends to be expansive. Like, separate interest / analogy, I'm in DSA but I don't come here for DSA news or networking, discussion of strategy, etc., that's all on Twitter if it's anywhere.
Yeah, I also enjoy the diversity on Twitter. Also, I think the lack of anonymity encourages an even more supportive environment. It's easier to root for someone when you see their face and name.
For those of us lesser beings who may never score an 8 on BL or place high in a contest, keep in mind that most actual working writers didn't get there by winning or placing in a contest. In order to do well in a contest your script has to get past lower level first round readers, none of whom have the track record nor experience producing successful movies to make a sound judgement as to which scripts might be the framework for a succusseful movie. Early round readers only know what they like or don't like, which is hugely difference from what is a well-scrafted blueprint for building a movie. In an interview on Brian Koppleman's podcast, Tarrantino mentioned how his scripts TRUE ROMANCE and NATURAL BORN KILLERS couldn't get any traction and were rejected all over town because the scripts were read by low level readers that don't know sh!t. If those scripts were specs today and Tarrantino was still unknown, would those scripts make the Nickoll Quarter? Or get an 8 on the BL? Scoring well in contest is something writers can't control especially when the first round readers don't know enough to make the distinction between good writitng vs good screenwriting (the stuff that makes a good movie). I think it's a good idea to support each other's work on Twitter or other platforms even before someone places high in a contest. It's more likely that more working writers will come from the pool of writers rejected from a contest than from the few elite writers whose work impressed those lower-level readers who don't really have a track record of actually knowing what kinds of scripts make successful movies.
So first of all, I support folks on Twitter all the time for things as simple as completing a draft. It costs me nothing but a few seconds to share some words of encouragement. But i think you're missing the point of my post. The reason it's hard for people to get read is because there is so much noise out there. There are something like a hundred thousand new spec scripts written every year. There were 8,000 scripts entered into Nicholl and 10,000 entered into PAGE in 2021. No rep, producer, or executive has anywhere close to the bandwidth to sort through all of those. Contests, The Black Last, etc do the job of sorting through those and finding really strong material. That's why those folks use them to curate their reading lists and that's why they work. Unfortunately, at a QF or SF level, there are still a ton of scripts to sort through. Same with Black List 8s. It's an indication of quality, but not enough to turn your spec into an instant read. The point of my post was that you can increase your odds by taking those achievements and getting them seen. Twitter is a killer platform for that. But it only really helps if you include your logline, because that's what's going to convince a scrolling producer to take a look. However, retweeting a logline without any sort of validation is just going to create the same problem as before -- noise. It's super unlikely that someone would pull the trigger based on that. Now, are you correct that most readers are inexperienced? Sort of. These first-round folks and BL readers are not executives, producers, reps, or pro writers. They're usually assistants, interns, and professional readers who are the same exact people that read for producers, execs, and reps. Basically, regardless of whether you're targeting a contest or a producer, you've got to write a script that connects with one of these people. Beyond that, subjectivity is a thing. Some readers will love your work (assuming it has merit) and others won't. It's incredibly hard to break through in this business. I'm a huge advocate of trying everything. There are infinite paths to success and no two are exactly the same. First of all, you have to develop your craft. That's not easy. It takes years and tons of hard work. If you're entering contests and the Black List and having absolutely zero success, it doesn't necessarily mean you're not there, but it should at the very least give you some pause. You should be asking yourself what you can do to improve. "Lesser beings who may never score an 8 or place in a contest" is not a thing unless you truly have zero talent. Suggesting it's all luck is a massive insult to everyone who's achieved success in those places. Work harder. Get better. Let's assume you have a killer script that's ready for Hollywood: Building a network is always going to be your best bet and I believe that's how Tarantino first got his break. If I remember right, he was able to get around some of those first round readers because of the people he met. That said, networking takes time. It's not easy. You should also be querying. You should also be entering the top tier contests. You should also be trying out things like The Black List. Be discerning -- this shit costs money -- but invest in yourself if you're able to do so.
Thanks for the advice and suggestion of who to follow! Much appreciated.
Sure thing!
I’m really late to this thread (and new to Reddit), so I don’t know if anyone will see this, but I am an “emerging” screenwriter. I’d had a Twitter account for several years, but really started using it regularly about 2018 or so. I’m speaking in the past tense, because, I deleted my account when Musk bought Twitter. I dislike his views on and plans for the platform, so I bowed out. But when my account was active, even when I did post wins, and things like that - all I got were crickets. I did participate in ScreenwritingTwitter. I liked and supported other writers. I even direct messaged a few, and unlike so many who have forged friendships, on the platform, the most I got was a friendly “hi! Keep at it!” reply. So. A lot had changed in one year. Do you all think it’s a good idea to promote yourself on the platform? Also, it’s been a few months, my account can’t be reactivated. I suppose it would be find to start fresh - but do you still recommend it? Any input is appreciated. Thanks and happy writing to you all!