Let’s get this out of the way first. Yes, living in Los Angeles offers many more opportunities when you’re trying to pursue a screenwriting career.  

Los Angeles is the mecca of the film and television industry. It’s the home of most major studios, networks, streamers, production companies, management companies, and agencies. 

Living there means you’re more present and available for:

• Face-to-face general meetings
• Industry jobs that can open doors
• More opportunities to network with industry insiders, peers, and potential collaborators   

But here’s the thing — things have changed a bit since the days when you really needed to be in Los Angeles to have a chance as a screenwriter. 

Since the pandemic, face-to-face general meetings aren’t as prevalent as they once were. Many development executives, managers, and agents don’t require them like they used to. 

Online correspondence and collaboration is much, much more prevalent these days, especially on the screenwriting end of things. This culture change has opened many more doors of opportunity for screenwriters around the world. 

Here we offer key tips on how you can become a pro screenwriter not only outside of Hollywood walls — but beyond multiple state and country borders as well. 

But before we dive into that, here is some context where this information is coming from. 

I’m a Professional Working and Produced Screenwriter Living in Wisconsin

This post isn’t about me, but it’s important to know where the below information and perspective is coming from. 

I’m a professional screenwriter with 15 (and counting) pro feature-length (1 miniseries) contracts, 12 (and counting) of which have been produced and released on major network and streaming platforms, with 10 (and counting) of those happening within the last few years. All of those came to be while living 2000 miles away from Los Angeles. 

Full disclosure. I lived and worked in the Los Angeles area from 1999 until 2006, relocating back to my home state of Wisconsin so my wife and I could raise our children close to family. 

I worked at Sony Studios, first as a security guard to get on the lot, and then working my way up to an office position as a studio liaison, handling various needs of incoming productions and new executives and employees moving their offices onto the lot. 

From there I talked my way into a position in Sony Pictures development as a script reader/story analyst (my best education in screenwriting). I later nabbed a manager from a studio referral after sending my first marquee script out to Paramount Studios through a networking channel. This led to multiple meetings at every other major studio (Sony, Universal, Warner Brothers, Disney, Dreamworks). Nothing came of those meetings, and I had already decided that it would be best for my family to move back to Wisconsin.  

Ironically, it wasn’t until after we moved 2000 miles away from Los Angeles that I signed my first development deal with Lionsgate. Sadly, the 2007/2008 double-punch of the WGA strike and economic collapse hit the industry hard. Hundreds of development deals were dropped. Mine wasn’t renewed. My manager and I went our separate ways a couple of years later as the industry recovered. 

It wasn’t until 2010 when a geographical networking connection connected me and a Los Angeles-based producer. I had a few great writing samples (spec scripts) that I shared with him. He loved them and hired me for two paid writing assignments, the second of which went to script and was produced as a Top 10 miniseries overseas (eventually landing on DVD/Blu-Ray and streaming platforms in the U.S.). 

Despite this momentum and many meetings with studios that followed, I didn’t sign another deal until 2017. I didn’t have another produced project until 2020. It wasn’t until late 2020/early 2021 when an old contact led to an amazing collaboration that itself would lead to 10 produced and distributed feature-length movies in just a few years. At the time of this writing — the day of actually — I have just signed my 11th contract within the the last four years. 

All of this has happened while living in Wisconsin with no representation.

Networking IS Possible Outside of Hollywood 

While living in Los Angeles gives you an edge, you don’t have to reside in La La Land to gain the necessary contacts you need to get pro contract opportunities. 

Networking starts by looking at your arm’s reach, and then expanding that outlook by various degrees of separation.

1. Mapping Personal Networks

You first start with you and those you know on a personal level. 

• Family
• Relatives
• Friends 
• And the six degrees of separation within

Who do you know in the industry? Who does your family know? Who do your relatives know? Who do your friends know?

It doesn’t matter how many degrees of separation exist between you and an industry insider. As long as you can somehow make a personal connection to anyone within the industry, that may be all that is needed to make something happen in your screenwriting career. 

Pro Tip: Don’t always rely on these contacts to be able to help you in your screenwriting journey. I know a well-known movie star. They are a family friend who I have shared meals with, visited their Hollywood Hills house, etc. But just because they have connections doesn’t mean it will all work out. So, always be sure to balance your expectations.

2. Mapping Geographical Networks

When you can’t find — or have exhausted — personal connections, your next best option is geographical connection. Industry insiders are bombarded by people trying to use them to advance their careers. It can be a breath of fresh air when they hear from people from their hometown, home state, or college. This creates an instant connection. Never be afraid to include nods to your geographical connection in your queries. They may be the tipping point in your favor. 

Pro Tip: All 12 of my produced scripts at the time of this writing came to be because of nothing more than a geographical connection between myself and a producer. We were both from Wisconsin. 9 of those projects had nothing to do with him. However, had it not been for 3 of them, the other 9 wouldn’t have happened. Don’t scoff at the thought of using a geographical connection as your ‘in’ within your queries.  

3. Mapping Industry Experience Networks

The next go-to networking map is your industry experience. Sure, this may require some time in Los Angeles, or any other states like New York, Chicago, or Atlanta that have become production mini-meccas. But if you ever get the chance to work in the industry in some other capacity than screenwriting, you can create some great networking opportunities and relationships. 

Pro Tip: My time as a script reader/story analyst for Sony Pictures was a huge discussion point that likely tipped the scales of success in my favor. If you can learn how to write script coverage, you can offer your surfaces to any and all studios, production companies, management companies, and agencies with some creative networking of your own. IMDBPro is a great asset to get email addresses for cold queries — not only for marketing your scripts, but for pitching yourself as a script reader/story analyst. All you’ll need is a few samples of script coverage. Companies are always in need of new script readers — and you’ll also get the best screenwriting education ever while working as a script reader. 

Don’t Announce That You Live Outside of Los Angeles

Let them fall in love with your script first. Then drop the bombshell (it’s not really a big deal anymore) that you live in another state or country. 

Don’t put your mailing address on your title pages — and don’t mention that you live outside of Los Angeles (unless you’re using your geographical connection as an opener in queries). When an industry insider responds to your query and requests a script — or you’ve managed to connect with them after a screenplay contest high-placement or win — focus on the script. Don’t divulge your geographical location until they ask. 

Again, let them fall in love with your concept and script first. But again, don’t worry. These days, it’s not really a big deal anymore. 

Have 3-5 Great Writing Samples Ready 

Don’t rush to marketing and networking. The key thing you need is a collection of quality writing samples to share. 

Writing one script and then pushing that one script with a full-on marketing and networking blitz without anything else in your back pocket isn’t going to do you much good. Why? Because even if you do get calls or meetings, the first question they’ll ask after you’ve talked about the script that got you the call or meeting is, “What else do you have?”

Industry insiders want to work with the best screenwriters. They’re not afraid of newcomers. They just want a newcomer that has proof of talent. One script usually isn’t enough. It can be a gamble for them to take a chance on a possible one-hit wonder.  

If you have proof of talent by way of a stack of 3-5 strong scripts, they’ll take you more seriously — even if you live outside of Los Angeles. 

Always Show Willingness to Fly to Los Angeles If Needed

If you get in-person meeting invites/requests, or if you get representation that needs you to meet some people in person, just showcase a willingness to fly out if necessary. 

You don’t need to be in Los Angeles to write. Everyone in the industry knows that. All they care about is that you can write, and write fairly fast and well.