WritersDigest.com I 63the power of a trusted pack when it
comes to hustling.
People worthy of your trust are
happy to earn it. Everyone in my
inner circle never once expected
me to trust them blindly, nor did I
expect them to trust me. We dem-
onstrated our worthiness by con-
sistently being loyal and depend-
able. Actions matter. Words matter.
Loyalty matters.BE HUMBLE.
Humility is one of the most attrac-
tive qualities a person can have. No
one wants to help someone who is
arrogant or defensive.
’Nuff said.WHEN PEOPLE HELP YOU,
WORK TWICE AS HARD TO
MAKE THEM FEEL IT WAS
WORTH THEIR TIME.
Always put yourself in your mentor’s
shoes. Don’t waste their time. See
“shut up and listen” below.
Having a pro on your side
increases your odds of getting
noticed. Th ere’s nothing like a sea-
soned writer hustling your name as
a “writer to watch” among their own
network to get you a leg up.
PITCH AS IF THE EXEC
NEEDS YOU INSTEAD OF
YOU NEEDING THEM.
You’re asking someone who doesn’t
know you to spend millions of dol-
lars on your vision. If you expect
them to scream, “Sold!” you have to
have delusional confi dence.
Would you walk into a bank and
ask for a loan unshowered, wearing
sweatpants, and begging for money? If
you did, they’d worry you could never
pay the loan back. You have to act like
you don’t need a loan. Walk with the
air of success—strong body language,calm demeanor, and a sense of humor.
When you command the pitch room,
they’ll have the faith to give you the
reins. Just like the bank needs people
to take out loans to make money,
execs need writers with great concepts
to make the studios money. Th ey
need you. Never forget that.
Remember, you’re also interview-
ing them. Are they the type of pro-
ducer, network, agent, manager, etc.
you want to work with? If you see
a red fl ag, trust your gut! You’d be
better off getting your own hustle on
without representation.
But having representation makes
a big diff erence. Don’t go aft er the
big names when you’re starting out.
Find the new agents and manag-
ers who are hungry and want to
discover a fresh voice to take the
city by storm. Once they get you a
gig, don’t drop them. Be loyal to the
people who gave you your break.SHUT UP AND LISTEN.
Listen more than you talk. Th ink of
it as gathering intel. No one learns
anything about their opponent
when they’re busy talking about
themselves. Th ey learn by listening,
observing, and noticing the things
left unsaid. Pay attention to what’s
said in between the lines.
Of course, you have to speak, too.
When I’m pitching, we always start
with small talk. Oft en a common-
ality is found. Th e exec might talk
about something totally unrelated
to writing—college, kids, cars, etc.
If it’s something you have expertise
in, chime in. Th ey’ll appreciate and
remember you.
Feel free to ask them questions,
too. You have them in the room; take
advantage of it. Find out what they’re
looking for. One of your other proj-
ects might be in their wheelhouse.LEAVE THEM WANTING
MORE.
If they asked to read the script,
shake their hand and get out before
you talk them into a no! You accom-
plished what you came in for—don’t
blow it. An exec will have more con-
fi dence in you when you know how
to close a deal.GET COMFORTABLE BEING
UNCOMFORTABLE.
Like it or not, you have to pitch
in the room at some point in your
career, or you’ll never sell anything.
Th e more you do anything ter-
rifying, the less scary it gets. Face
your fears and get comfortable
being uncomfortable. I promise you:
Whatever it is that makes you tremble
will become second nature faster
than you think.ABOVE ALL, BE TRUE TO
YOURSELF.
Authenticity is attractive. Th is is your
career, and you have to approach it
with honesty. Respect yourself and
fi ght for what you want—if you don’t,
no one else will. Great hustlers are
always respected. Th at’s how they get
as far as they do.
Writing well is only part of the
equation. Being a hardworking,
decent human being is the other
part. You don’t need to sell your
soul to succeed. Trust that you are
enough by being a person someone
wants to work with. Be a person you
would want to work with. WDFor more information on screenwriting,
browseoursistersite,Scriptmag.com.
Jeanne Veillette Bowerman is the
editor of Script magazine. She wrote the
adaptation of the Pulitzer Prize–winning
nonfi ction title Slavery by Another Name.