6 Ways to Market and Brand Yourself

by Joel Mendoza

In such a competitive industry, how you decide to brand and market yourself as a screenwriter can be the difference between success and failure.  Not every showbiz folk is a self-aggrandizing attention seeker, nor have even the slightest inclination to promote oneself, but it’s essential you find ways to make your presence known and to stand out in a crowded field.

Additionally, as you begin to implement some of the tools below, it is equally important that you think about the image you want to portray and how you want to be seen by your peers in the industry. It’s important you let people know what kind of a writer you are; a big idea genre writer, or do you gear your image towards crafting more nuanced, character driven drama. Perhaps you have a natural ability to craft smart, fast paced dialogue that pops off the page, or maybe you’re the comedy man that has a larger-than-life laugh.  Don’t be so specific or so niche in your taste as to have limited appeal. What’s important is that whoever you are and whatever you write, your marketing ultimately reflects where you want to go and how you want to be seen.

As you can see, marketing yourself and getting yourself out there are an important part of building your presence, raising your profile, and getting noticed in the industry. Here are 6 ways to build your brand and market yourself as a serious screenwriter.

Fear Not The Big Rewrite

By Luke Warrington        

So, you’ve just finished the first draft of your latest—or first—screenplay. Mazel tov! You’ve done it. Time to slap on a cover page, connect it with some brass fasteners, and send it out to anyone you may know with some semblance of Hollywood connections, right? Eh, maybe we should pump the brakes a bit.

While typing “Fade Out” on a first draft is an exciting time (seriously, be proud of yourself), the work isn’t quite finished yet. Usually (read: always), the first draft of a screenplay is just that: the first draft. After all, writing is rewriting, as the adage goes. But how do you know which areas of the script need to be rewritten? And just how much rewriting needs to happen? Both fair questions, to be sure, and certainly questions you’ll be more comfortable answering, the more you write. In my experience, there are two people you should listen to when it comes to making decisions on rewrites: yourself and others. I know, not super insightful, but humor me for a minute.

First and foremost, as a writer, you are in complete control of your story (at least at this point in the screenwriting process). You get to decide anything and everything that happens within the pages of your script. That means, no matter what direction you receive from others, you have the final say on what shape the piece will ultimately take. With that said, having spent so much time with the story, typing away day after day, it can be hard to be objective about it yourself. Which is where the second person—errr, people—you should listen to comes in.

SLOTS Wraps Production


After being selected a Finalist of the Fresh Voices Short Script competition in 2020, 'Slots' attracted producer Maryam Ghorbankarimi from Bina Film to the project and the crew has just wrapped production.

Set and shot in the picturesque North West England, 'Slots' written by Anthony Povah, tells the story of Chris and Peter, two middle-aged middle managers who share a commute and dream of escaping routine and responsibility for a day, and ultimately learning that joy can be found in the smallest of things and strangest of places. 'Slots' is a story that commuters everywhere will easily relate to.

Written by Anthony Povah and featuring music by Animal Collective, 'Slots' is the first film from Canadian/Iranian producer Maryam Ghorbankarimi under the reborn Bina Film brand.

Meet Wigham Foothill


Last month, Wigham Foothill won the 2020 Fresh Voices Screenplay Competition Grand Prize Award by applying his highly cinematic voice to a true-story miniseries about the larger-than-life character of Charles Ponzi.

We finally had a chance to speak with Wigham, or as he’s known when not writing, Josh Durst-Weisman, to find out a little more about his background, the inspiration for his winning script, his process in writing, and just what makes him tick.

When not writing, or enjoying time with his wife, Josh spends time developing his youtube channel, Class Act Screenwriting, which I would urge you all to visit and support.


Hi Josh, congratulations on your big win. Before I ask what you’ll do with the prize money, I wanted to ask a little about your inspiration for the film. In a world where life-rights are sold based on name alone and stories based on real people are hot, it seems like Charles Ponzi is such an obvious choice for a biopic, I can’t believe it hasn’t been done.  What was your inspiration for writing PONZI and how long have you been working on the script?




We recently had the chance to see the final cut of Nick Denbeigh’s award winning short, SHILO’S WAR, winner of the 2020 Fresh Voices Short Script Competition. The short features outstanding production values and solid acting resulting in an engaging short about brotherhood, survival, and PTSD that is ultimately both moving and memorable.

We had already certified the script “Fresh”, but to see the finished product really blew us away. The film is superbly shot and edited, featuring incredibly cinematic locations and a wardrobe and make-up team that elevates the entire production.

We were so impressed on so many levels we had to sit down with Nick and find out how he pulled such an impressive production together, no less during a pandemic! Please makee sure you watch and support the film at https://www.nickdenbeigh.com/shiloswar.

Grand Prize Winner 3

HOLLYWOOD, CA.            4/08/21

Wigham Foothill, better known to his friends as Josh Durst-Weisman, was crowned the Grand Prize Winner of the 2020-21 Fresh Voices Screenplay Competition for his 1 Hr TV Pilot, PONZI, the first TV Pilot to be Awarded the honor in Fresh Voices’ twelve-year history. The script was selected from over 1,300 entries.

Deus Ex Machina

By Devon Forward & Joel Mendoza

Deus Ex Machina: When To Avoid It and How To Make It Work 

While many writers are likely familiar with the term “deus ex machina,” many may not know what it means, where it originated, or more importantly, how it can help or hinder your screenplay.

In literary terms, deus ex machina (Machine of the Gods) is a plot device where a seemingly impossible conflict or problem is solved by the sudden appearance of an unexpected person, object, or event. Deus ex machina does not have to refer to a literal machine—it can be the emergence of a new character, a surprising use of magic, or even the realization that “it was all just a dream.”

While every writer wants their story to smoothly close by wrapping up loose ends and giving their characters happy endings, deus ex machina is viewed by many as an easy way out. It’s a decision many creators feel forced to make when they write themselves into a corner and have no way out, except the hope of a miracle.

Generally, it’s something you want to avoid, and it’s certainly not something you want to rely on to finish your stories. Is there a way to steer clear of using this plot device, and is there a way to implement it successfully? The simple answer: Yes and yes.

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