Every year aspiring screenwriters from around the world enter screenwriting contests like Final Draft's Big Break. Arguably the most sought-after prize is meetings with top management companies and these meetings have resulted in various screenwriter success stories.

However, regardless of if you place or win in your selected category, entering your script into a contest like Big Break can also be used as a networking tool.

But how do you network exactly? Do you have to live in LA?

And how can a screenwriting contest assist your networking?

Don't Underestimate Readers

Most of the readers of top tier screenwriting contests are chosen because they have experience being a professional reader for studios and/or production companies. Also many of the readers are working various jobs in the industry and have amassed their share of contacts.

It's not uncommon for a contest reader to slip a script they think is marketable to a manager or producer they know (once again, even if the script didn't place or win). In fact, I know of a few instances in which a reader did just that: they gave a script to a manager and it led to the writer getting repped.

A lot of readers are also movie and TV fans — hence why they're working in the film and television business — and they want to see the kind of content they like get made. This is why it's important to pick the right subcategory when submitting your script into a contest. In most cases, contest readers are given the option to read the genres they prefer, so it's likely that the person reading will be a fan of the genre you've selected when submitting your script.

More Eyes on Your Script

So we've established that there's a chance a reader might forward your script to a manager and/or producer (these days many managers are also producers). Or maybe the contest reader slips it to an assistant at a management and/or production company and the assistant slips it to their boss. 

Ultimately it's about getting as many eyes on your script as possible. The more people who read it, the more chances that someone will see potential in it: the law of averages, right? This is why you have to "go wide" with your script (i.e., circulate it to as many industry professionals as possible). When you enter a screenwriting contest, you shouldn't be thinking solely of placing or winning, but also how much exposure your script is getting: it's being presented to the industry and that in and of itself is an opportunity.

Networking Remotely

These days many people in the film and television industry work remotely, so it's no longer necessary to live in LA to be a professional screenwriter. In fact, you don't even have to live in the United States.

Big Break winner Ben Johnson, Jr. lived in South Africa and his spec script Canaan won in its selected category. I interviewed him a couple years after his win and Ben told me the biggest benefit from his Big Break win was in the networking. Even after his initial industry meetings in LA (one of Big Break's grand prizes), he continued to set up meetings with people in the industry. Finally, one of the other Big Break winners set him up with their manager, Plain Text Lit, and was introduced to Mark Finley. This led to Ben getting repped and eventually getting high profile writing assignments on various international projects. 

Ben viewed Big Break as a networking tool: he "worked his win" and it paid off. And his most significant networking happened after he had returned from LA. Thanks to technology and the industry becoming increasingly global, geography is no longer an obstacle: aspiring screenwriters can connect with anyone from anywhere.

Work Your Brand

If you have any contacts you acquired through a contest or networking, "work your brand" and do your best to stay connected to these people.

But what exactly is "working your brand"?

It's publicizing and leaning into your voice and identity as a writer. Furthermore, it's your identity as a person: what kind of movies or TV shows do you like? What's your background? Your style? Your worldview? These are all questions you should be able to answer if you want industry professionals to take notice and remember you. 

Sometimes a manager won't take a screenwriter on as a client right away, but they'll "hip-pocket" them: this means they're not formally representing you, but they might show your script or pilot to a few colleagues or contacts they have, and see if anything clicks. Even if this doesn't result in an option or a sale or them repping you, a manager might stay connected to you and read other scripts of yours in the future. In short, you're building a relationship. 

Follow them on social media and ask them to follow you back. The internet is a great way to sustain and develop a relationship with an industry professional. At the very least, it keeps you under their radar. If the manager gets wind of a sudden job opportunity or if they have a concept they think suits your sensibilities, they might contact you.

This is why it's important to have a clear and distinct brand as a writer. Networking doesn't have much impact if there's nothing for people to associate you with besides a spec script that may or may not stick with them over time. With this mindset, it's also important to keep writing!

Small Steps to a Bigger Goal

Not only does continued writing keep you in "screenwriting shape" and help you to improve your craft, it's also giving you future opportunities. Maybe this next script is the one that'll break you into the business! 

Any managers, agents or producers you've maintained a relationship with will recognize an improvement in your writing, or if your latest script is more marketable than the last one. This is another reason to stay motivated and keep on writing: if you managed to get one foot into the industry, you're only one more foot away from staying in it.   

Screenwriting contests and networking are not always about an immediate win or overnight success, but rather small steps to a bigger goal.