by Douglas Eboch (@dougeboch) & Ken Aguado (@kaguado)

It’s the perennial problem: You’re an emerging writer, director, or producer with limited contacts in the entertainment industry, so how do you get someone – anyone – to read your script? It’s not easy, but it might make you feel better to know that many established filmmakers (even ones with representation) have this same problem from time to time. The good news is that it’s a solvable problem. Here’s what we’ve learned about how to make it happen.

1. First, make your script great.

It won’t do any good to get someone to read your script if it isn’t fantastic. Make it great, make it commercial, make it viable in the marketplace. At the very least, make it professional. Get trusted friends to give you honest feedback before you shop it. Learn to tell the difference between polite, encouraging feedback and genuine enthusiasm. When you see true enthusiasm, you will know it.

2. Craft a good cocktail party pitch.

You need a quick pitch so you can describe your script – both verbally and in writing – in a way that will intrigue a potential reader. Three to four sentences should suffice. Know what a good logline looks like – most people don’t have a clue. If you can’t describe what’s cool about your project in 3-4 sentences, rethink it. Know your pitch by heart.

3. Know who you need to reach.

What do you want to do? Are you looking for representation? Trying to sell the script? Trying to package it? Have a plan. Getting an agent is very difficult these days. It’s usually easier to get managers to read your script than agents. It’s usually easier to get producers to read your script than actors or directors.

4. Know why your script is right for them.

No matter how good your script is, it won’t be right for everyone. Sending a romantic comedy to a producer who makes low budget horror movies wastes everyone’s time. Focus on people who might be interested in the kind of material you have. Be able to tell them why your script is right for them, specifically. If you can do this, they will be much more likely to look at your material.

5. Network for referrals.

Most established producers, agents, financiers, etc. will not accept unsolicited submissions. But many will accept submissions that come to them through trusted acquaintances. Finding these trusted acquaintances is what networking is all about. This is overwhelmingly your best strategy if you are not a showbiz insider or an established player. Here’s a secret trick: When you meet someone who might be able to help, ask for “advice,” instead of a “referral.” Many people will be more inclined to help if you approach them this way.

6. Consider entering a contest.

Most screenplay contests (and some pitchfests) are of questionable value, but some, like the Nicholls Fellowship, are fantastic – if you can reach the final round. (This can be a good test if you’ve successfully accomplished tip #1, above). Some film festivals have contests that bring the finalists to the festival, which can provide great networking opportunities. Also, The Sundance Screenwriters Lab has launched several careers. Lastly, there are several studio-sponsored television writing programs that place writers into entry level writing jobs. Do your research and be strategic about where you apply.

7. Unsolicited submissions are usually a waste of time.

Never send a script without asking first. Some companies that accept unsolicited submissions will ask you to sign a waiver. You should almost never agree to sign one. Move on. If you do send a query letter, make it short and to the point. No one wants to hear your life story, unless your script is about your life story.

8. Take “no” for an answer.

Be positive and polite in rejection. Never defensive. If real feedback is offered, listen to it carefully – though most feedback will simply be a justification for the rejection. Make sure you keep meticulous records of all submission: names, dates, etc. Unfortunately, it has become customary for companies to never pass – they just never respond. If you don’t hear from them, that’s a pass. Make multiple and simultaneous submissions unless there’s a very good reason not to.

9. Learn to read between the lines of a rejection.

Most will leave no room for misunderstanding. “Your script does not meet our production requirements at this time” is as final (and generic) as it gets. Consider this a firm “no.” But sometimes they will leave the door open for future submissions. Walk through any doors that are open to you. Use this moment to learn what else they might be looking for. Try to build a relationship in advance of your next project.

10. Be patient and keep at it.

This process can take many months so it’s always a good idea to have multiple plans of attack in the works at all times. Keep working on new projects and getting them out into the marketplace. If you’re a screenwriter, often agents and managers will want to see more than one good script before representing you. Sometimes a pretty good script won’t sell, but it will impress a producer enough to look at your next script. Success comes to those who know what they are doing and don’t give up. You can do it!

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Screenwriter Douglas Eboch and producer Ken Aguado are the co-authors of The Hollywood Pitching Bible. Follow Doug @dougeboch and Ken @kaguado.