A scary good Q&A with Jimmy George

JImmy George

Jimmy George, aka Script Butcher, has been writing and producing films for over a decade. Along with optioning several screenplays, Jimmy has lent his name as co-writer/co-producer to six award winning feature-length films, garnering rave reviews, and boasting international distribution.

He has a talent for engineering fun and innovative productions on shoe-string budgets with few of the modern technological marvels used in major Hollywood blockbusters. Each of his films have been praised for circumventing their meager budgets, standing out through memorable storytelling.

Jimmy co-wrote and co-produced WNUF Halloween Special (2013), which won numerous festival awards, alongside national press from The New York Times, VICE, MTV, Birth.Movies.DeathFandango, and Red Letter Media, and is currently available on the AMC Networks’ streaming service, Shudder.

After tearing up the festival circuit, his most recent film, Call Girl of Cthulhu generated enormous buzz in the horror industry. Harry Knowles of Aintiticoolnews declared it “fun, better than it should be and quite splattacular.”.

Jimmy’s current project (and his seventh feature), What Happens Next Will Scare You, will be released next year.

In addition to writing and producing, Jimmy has a passion for helping creators succeed. As the Script Butcher, he consults with screenwriters, empowering them with the necessary tools to sharpen their scripts into dynamic stories that slice through the competition.

What’s the last thing you read/watched that you thought was incredibly well-written?

The pilot episode for GLOW. The world-building is excellent. It takes you into a sub-culture that’s mysterious and relatively unknown. The characters are memorable and entertaining. We meet the lead character at her lowest point. It leaves us with so much promise for what could take place during the series. Does everything a pilot should do and more.

How’d you get your start reading scripts?

There are many screenwriting gurus out there. I am not one of them. I’m just a guy who’s written a ton of screenplays, produced a half-dozen movies of my own, and learned a lot along the way.

Over the last ten years of making movies, I’ve become the go-to script doctor for a lot of friends and colleagues. I’ve been doing this for free for a decade and it became clear a few years ago that this was my purpose. So I decided to start this service and try to make a living doing what I love.

Telling stories is what I was put on this Earth to do. Helping others fine tune their stories is a close second. I’ve been in your shoes. I know the blood, sweat, and tears it takes to complete a screenplay. This isn’t a job for me. It’s my passion. It’s what I live for.

Where does the moniker “Script Butcher” come from?

Whenever someone would ask for notes, I always delivered their script covered with red ink. The pages looked bloody. I once joked with a friend that I was their “script butcher” and it just stuck. To this day, every time I finish a set of notes my hands are covered with red ink splatters. I have a background in horror so a lot of people assume those are the only scripts I work with, but I provide the same exhaustive notes for all genres. I’d say 75% of my clients don’t write horror.

Is recognizing good writing something you think can be taught or learned?

Writing well and recognizing good writing are skills that go hand in hand. Both can be taught and learned. For me, recognizing good writing as compared to bad has come from reading thousands of scripts at all levels of the talent spectrum. Having my own scripts brought to life on a frequent basis, sitting in theaters watching what works and doesn’t has also taught me invaluable lessons most script doctors haven’t had the opportunity to learn or pass along.

Studying the work of pros is a must too, but a lot of scripts available to the public are shooting drafts which are different from spec scripts and teach new writers bad lessons. So much can be learned from script consultants as well. I wouldn’t be where I am today without the mentoring advice and guidance I received from my own trusted script doctors.

I didn’t go to film school. The notes I received from these professionals over the course of a decade and a half, became my film school. By failing time and again, by continuing to experiment with the form and seeking constant feedback, I learned the craft. I never stopped trying to get better. Growing thick skin and learning how to use feedback to improve your stories is an important skill set for a writer.

Sending my scripts for notes became a crucial part of the writing process and continues to be.

What are the components of a good script?

A good script should have an original, marketable concept.

With flawed relatable characters who are actively seeking something they care deeply about, that we can emotionally connect with and root for, and that deals with the most important events of these character’s lives.

It should present a visual goal for the character or characters to achieve which form the central story question, and present primal, relatable stakes for what will happen if they fail to achieve those visual goals with formidable forces of antagonism that cause never-ending complications, standing in the way of the character’s achieving their goals.

It’s properly formatted on the page, relies on visuals instead of dialogue to tell the story, with plausible surprises and reversals of expectation at every turn.

And it builds to an emotionally satisfying climax that answers the central story question of whether our characters will achieve their visual goal in a positive or negative manner.

Other elements such as a quick pace, character arcs, thematic resonance, and memorable dialogue are a bonus, but not absolutely necessary for a script to do its job.

(Some of this is inspired by Terry Rossio’s 60 Question Checklist, which every screenwriter should read here.)

What are some of the most common mistakes you see?

1) FAILURE TO DELIVER ON THE PROMISE OF THE PREMISE

A story is a promise. Imagine Mrs. Doubtfire if the story followed Robin Williams working as an accountant instead of following the trials and tribulations of trying to reconnect with his wife and kids while dressed as an old woman.

The audience is waiting for you to deliver on the promise of your concept. If your script is about killer beer, you better have a beer pong massacre scene.

2) TONAL IMBALANCE

If you’re writing Schindler’s List, there’s no room for campy comedy. Vice versa.

Even if you’re mixing genres, keep your characters’ reactions to the events around them and the events themselves consistent in tone.

3) LACK OF CLARITY EMOTIONAL OR OTHERWISE

Clarity of what a character is feeling in reaction to a situation or what is being conveyed in general is a common issue I encounter with client scripts. Because the story is alive in your head, it’s difficult to tell what is and isn’t conveyed on the page. It’s all crystal clear for the writer, but often muddled on the page.

There are many more common mistakes, but these are the big ones.

What story tropes are you just tired of seeing?

UNDESERVED CELEBRITY STATUS – I see so many scripts that give their characters a level of celebrity status that’s unbelievable simply for the sake of telling the media-frenzied story they’re trying to tell. The paparazzi and press are very specific about the types of people they will follow. Make sure your characters are worthy of the celebrity status you’re giving them in your story.

USING NEWSPAPER HEADLINES AS EXPOSITION – Many of my clients rely on one newspaper headline after another to show the passage of time and relay important exposition. Media has changed. This is an antiquated story device that no longer holds weight with the audience.

What are the 3 most important rules every writer should know?

1) REVERSE EXPECTATION at every turn in a way that feels organic to the story and not calculated or contrived.

2) FIND THE CLICHE AND THROW IT AWAY. If we’ve seen it or heard it before, find another way to show it or say it. This will ensure your story always feels fresh and unique.

3) MAKE IT VISUAL. If dialogue comes last instead of first when you’re crafting scenes, it will ensure your story is cinematic and not better suited for the stage.

Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?

I have once, it’s called BaSatai by my longtime client Suzan Battah. She’s in the process of turning it into a graphic novel. You can find out more here. https://www.patreon.com/suzanbattah

How do you feel about screenwriting contests? Worth it or not?

Not worth it. Writers put so much time, emphasis, and worst of all, money into contests. In my opinion they’d be better off spending that time improving their craft and spending their money on attending networking events and writing workshops.

While I understand the allure of getting a festival or contest win to stand out from the crowd of writers trying to break in, a contest win can be detrimental to a writer’s sense of skill level and give them a false sense of completion with their scripts.

I’ve worked with dozens of screenplays that were “award-winning” with multiple festival monikers to their name, that I don’t feel would get a RECOMMEND from a single studio reader.

Writers are paying money to contests, being assured their scripts are good enough, when they aren’t ready yet. There’s nothing more detrimental to your career than trying to shop around a script that isn’t ready.

How can people get in touch with you to find out more about the services you provide?

My website has all the details you’ll need at www.scriptbutcher.com/services

You can also find me on Twitter at www.twitter.com/scriptbutcher

Instagram at www.instagram.com/_jimmygeorge

And Facebook at www.facebook.com/scriptbutcher

Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

Offbeat answer here. My wife and I were passing through Intercourse, Pennsylvania, otherwise known as Amish country. There was a gift shop that sold Shoofly Pie with cartoonish construction paper flies advertising how fresh it was. We bought a slice. Needless to say, it was so delicious we left with two whole pies.

Could it get made today?

psycho-house
“Another “boy and his mother” story? Pass.”

Originally, this post was going to be about the multiple changing of protagonists in PSYCHO (which is another great potential future topic), but the more I read about the film and thought about the impact it’s had since being released way back in 1960, it triggered a totally different train of thought.

Every once in a while, when a classic film is brought up in some context or another, the phrase “That could never get made today” will get thrown in. After the recent death of Gene Wilder, his talent was lauded via the mention of several of his most well-known roles. Willy Wonka. The Waco Kid. Victor Frankenstein (“That’s Fronken-steen.”). His performances were vital parts of each film, which no doubt contributed to making them “classics”.

But, as always, it starts with the script. (Incidentally, I don’t think Wilder gets enough credit for co-writing YOUNG FRANKENSTEIN.)

Examining the stories being told, each one has something truly unique about it, and then some. The writer (and subsequently the filmmaker) wasn’t afraid to take a chance and try something completely new and different. Sadly, the studios today aren’t as open to it. Better to play it safe then take too big a chance, which is why we’re seeing so many remakes and re-imaginings. Of course, that doesn’t always work out either (e.g. 2015’s PAN, the recent BEN-HUR remake).

While there are always original and innovative scripts floating around, it’s a lot of time, effort and money to make a film. The only recent original film I can think of is SWISS ARMY MAN, which I admit I haven’t seen yet.

Who hasn’t read a “truly original” script or about one getting a lot of attention, but a lot of the time the writer will go on to work on other projects while the script that started the whole thing gathers dust?

The best exception to this that I know of is Travis Beacham’s spec A KILLING ON CARNIVAL ROW, which drew a lot of heat when it sold in 2005, then continued to garner praise while it languished in development for years before ultimately becoming an upcoming series on Amazon – at last check, anyway.

Budgets are getting higher, and the gap continues to grow between microbudget features and mega-budget tentpoles. It’s getting harder for original material to get noticed, let alone something that screams out “NEW!” It also doesn’t help that the chances decrease if the script isn’t based on pre-existing material. This could be why today you’re more likely to see an original film that’s a low-budget independent, probably written by the filmmaker themselves.

Before that, your best bet of seeing something groundbreaking would have been at the hands of established filmmakers, only because they had that kind of leverage (and the budget) to get their projects made. An unknown writer doesn’t have that kind of luxury. All we can hope for is to connect with somebody who likes the script (and our writing) so much that they’re actually excited to help us take things beyond the “Sure, I’ll read it” stage.

That’s our objective as writers: to write something that’s not only compelling and involving, but so eye-openingly original that the reader is compelled to the point that they need to see this as a movie. Doable, but definitely not easy.

Homework time! Part one – find a script you really consider a game-changer for the same genre as yours and give it a read. Can you identify what made it so unique? What really stands out for you? Plot? Story? Characters? A little of everything? Another option is if that script has been produced, then watch the film and follow along with the script. Are they the same? Totally different? Do you think the changes add or take away from the script?

Part two – without blatantly copying the style of that script, work on applying a similar originality to yours. Did reading that script inspire ways for you to make yours really stand out?

Don’t be afraid to take chances. Strive to offer up something we’ve never seen before. The results might surprise you, too.

-Special offer just for you!

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Forget all the confusing and vague “fluff” found in most screenwriting courses, coverage and books. Script Hackr will skyrocket your screenwriting skills by utilizing rarely talked about hacks and hands-on practical exercises to de-mystify theory.

The course retails at $299, but you can get it for just $99 by using the coupon code M4X1Z3 at checkout.

You can check out more details on the course here:

Q & A with the Thornton Brothers

Thornton Brothers

Chris and Jason Thornton are professional storytellers who seek to entertain audiences via thematically charged films, TV shows, books and comics across various genres while specializing in darker, provocative, character-driven narratives ranging from “micro” to tentpole in budget. They are members of the WGAw and repped by UTA and Rosa Entertainment.

Cactus Jack is their feature directorial debut. It’s the story of a reclusive hate-monger who starts a venomous, vitriolic podcast from his mother’s basement and makes enemies far and wide—until one comes to silence him. Think a cross between Taxi Driver and Talk Radio for the podcasting generation. You can help the guys out with their crowdfund campaign (and see their totally NSFW red band proof-of-concept teaser)

What’s the last thing you read/watched you thought was incredibly well-written (Book, TV or film)

Fuck, that’s hard. Not because we look down on stuff, but because we’re so busy trying to make our own shit that we barely have time to consume like we used to. Hmmmm. Just rewatched Network lately, so that definitely should be mentioned. Paddy Chayefsky was an absolute beast. Sure. Network. Can’t go wrong with that.

What’s your writing background? What was the project that got things started?

We’ve kind of always been innate storytellers. We come from a strong line of liars and bullshitters, and as largely unsupervised kids in the projects outside DC we’d play out really elaborate, raw extended throughlines with our action figures and made our own comic books and honed our sensibilities between bouts of watching R-rated 80’s shit on free promotional HBO and Showtime and role playing. We started screenwriting together maybe fifteen years ago, but after writing three scripts that shall never see the light of day we stopped for a few years before coming back to it in ‘07. That project was a script called Heart, about a dying, psychotic Vietnam vet who gets an early release from prison and—since he can’t get on a donor’s list—tracks down the man whose life he saved forty years ago in ‘Nam: he wants the dude’s heart. It’s a very dark, fucked up, pulpy who-do-I-root-for story, which finished in the Top 30 out of like 5,000 entries for the 2009 Nicholl Fellowship (since dismantled and currently turning it into a truly dastardly novel). From there we started talking to managers but it was our next script Mechanicsville that really hooked our manager (shoutout to Sidney Sherman of Rosa Entertainment, who still reps us) and first agent (started at WME but since jumped to UTA). M-ville’s kind of a Kentucky-fried heist flick about how shit hits the fan when two gangs of bank robbers try to rob the same small town bank on the same day (Hell Or High Water stomps all over it now, unfortunately). That one started getting us legit meetings, led to our first assignment and opened the door to pitch shit, etc.

Your current big project is crowdfunding to produce your original independent film CACTUS JACK. What’s the story behind that?

Part of this is definitely about us tiring of being stuck on that movie/TV development hamster wheel, and all of these unproduced projects forcing us to look at our shoes and mumble “no” when people hear what we do and of course follow up with “Oh yeah? Anything I can see or read?” Part of it is about trying to make a feature film for relatively very little money, because screenwriters will never “move the needle” on a project like in-demand directors will… but for the most part it’s a sick little story we just have to get out there as quickly as possible. It’s very zeitgeisty, very of-the-moment as it holds up a twisted, frothing-mouthed funhouse mirror to this already “big top” election cycle. Once we started talking to our actor (Michael Gull, a very talented dude whose skills we tailored the very conception of the film to), we knew we had some dynamite shit on our hands, and as far as we were chomping to push the envelope into radioactive territory, we knew none of our contacts or fans in Hollywood would take a risk on this thing until it was made and we proved our point.

So we found a micro-investor to help us make a teaser for the film and launched a crowdfunding campaign on indiegogo. We need all the help we can get, time is running out, and though we have recent some offline help from friends and family who couldn’t back us through the campaign, it’s pretty dire! We’re going to make the movie come hell or high water, but every penny helps push production value (plus pay and feed cast and crew) and you can preorder a copy of the flick for $25. So—please, lend us a hand in making this batshit, gonzo little monster of a movie!

Your writing style is very vivid and descriptive. Did that come naturally or was it something that took time to develop?

Both. It takes a long, long time for some people to hone their voice and honestly, it should be an ongoing process and evolution for your entire writing life. But you have to have a voice to be honed in the first place. A lot of writers are sadly like those poor souls on American Idol who have no business auditioning in the first place—but hey, who are we to deny the delusional their dreams? Whatever keeps them from shooting up a shopping mall. ;)

Have you always worked together? Is one of you the specialist in a certain area, like one does more writing and the other handles directing, or do you split it evenly?

We’ve sort of always worked together, for the most part. Though we each have our own skills we complement the other with, we do tend to each spearhead a project nowadays while the other acts as more editor and muse. So yeah, we each have our own pet solo projects, but they all fall under the Thornton Brothers umbrella eventually.

Do you only work on your own scripts, or have you done some assignment work as well? Do you have a preference?

We’ve done both, for sure. Hard to sustain a career, or even kickstart one, without doing assignment work. The nice thing about it is people actually give you money to commence writing something! It’s crazy. Not at all easy to do, trying to feed yourself or help provide for others in the arts. Some might even call it foolhardy, but yeah…we’ve done both. Selling something you wrote yourself, from your own mind and heart, is infinitely more satisfying. And while we’ve had some very fun, interesting experiences collaborating in a development sense with assignment work or on successful pitches that became scripts (if not movies), no matter how smooth or inspired a collaboration with an outside party it’s never quite as liberating or just straight up fun as going out into the creative wild on our own and coming back with a kill.

You’re also filmmakers as well as writers. What do you consider the benefits of working on a film, from both the writer and filmmaker perspective?

Making or even merely being witness to the construction of an actual film is pretty invaluable for screenwriters, in our collective opinion. You really start to see how to separate the meat from the fat, and how what works on the page might not be as impactful in the moment or on the screen. Editing film/video also really helps hone your sense of timing, pacing, and flow as a storyteller… and how effective and economical you can be with visuals, allowing characters to shut the fuck up sometimes, how to convey info without big, clunky dialogue exposition bombs, etc.

Also, if you can we say go for the hyphenate… again, no screenwriter is ever going to have the kind of clout a successful director has. That said, many don’t have the temperament or skillset required (not that there’s one narrow band of disposition that allows one to direct), but writers often have murkier personalities. It’s worth making a film or two to find out if you’re a writer-director or filmmaker versus just a writer is not a bad idea. But if you know off the bat you don’t get along with others, have trouble verbally conveying what you mean to say, then save yourself the grief. Take our word for it: directing even modest, “micro” films ain’t for the faint of heart. Also, keep in mind that some stories demand to be told in this medium. Others don’t. Some work better in prose, or even in poem of song. Marrying the right medium to the story is also part of the trick.

When working on a script, do you have a reliable source for notes?

We are our own most reliable source of notes. It helps that there’s two of us but honestly we’ve both tried to become total fucking samurais when it comes to self-editing. You have to be. It’s not only a matter of putting your best foot forward when you go to show your work to reps or the public, but even if you were going to Emily Dickinson that shit away in a kitchen drawer until it’s discovered posthumously years later—your story deserves to be the closest to “perfection” it can be (which is objectively unattainable, but approximated through the filter that is you. It is YOUR story, after all). Oh, and our manager is usually good for one killer note.

What are the 3 most important rules a writer should know?

Ew! “Rules!” Haha, in all seriousness though maybe Rule #1 should be: There Are No Rules. There’s no one way to get noticed, to have a career — and anyone who tells you there is is probably trying to sell you something. But if you want some real nuts and bolts:

1. Always approach storytelling with Character at the forefront.

Even if you outline a predetermined plot to get started with a map, veer off of it when you find it incongruent with a character you’re rendering. If there is falsity or fallacy baked into the behavior of your characters, no matter how tightly constructed your narrative, it will start to crumble.

2. Be careful with twists and “reveals.”

We see it all the time, from the stuff we watch and read (and have written in the past) to many of the scripts we’ve consulted on. It’s a natural storytelling tendency, to want to surprise an audience, but only do it with REAL PURPOSE. Be careful with the big climactic “backstory reveal that made the character tick all this time.” Very rarely works.

So much more satisfying is a simple story told well. If you do work with twists, make it work like The Sixth Sense. The film works with or without it until the point it hits, and it is truly revelatory. It’s not that M. Night held something back to show how clever he was. Don’t do that shit. It’s awful. Put your cards on the table and tell your damn story.

3. Don’t be a slave to the idea that a story needs a transformational character arc.

This is something that a Blake Snydered Hollywood succumbs to far too often, in our opinions. First: in film arcs very, very often feel shoehorned or forced in. Especially if not much time passes, or it comes near the end (must overcome his fear to succeed, or must learn to be a team player—blah, these themes have become true platitudes). If you open with a loving mother and wife whose husband and kids are murdered and she becomes a vengeful, murderous black widow from there—sure. Inciting Incident forcing a catastrophic arc that sets a character on a trajectory works. That feels authentic. And in TV, longform character change feels authentic. Some of the most potent stories of all time are great specifically because a character does not arc. Think Shakespearean tragedies, Daniel Plainview in There Will Be Blood, etc. Sometimes it’s “the right man for the right job,” and the transformation is supposed to occur in the viewer. That’s where real catharsis lives: in the viewer. Give it to them.

Reader of this blog are more than familiar with my love and appreciation of pie. What’s your favorite kind?

Well, there are two of us. Chris likes pumpkin, and Jay will eat anything. Literally, anything. There’s a reason we don’t include headshots.

Bulletin board back in action!

times square
It’s not your name in lights, but pretty darned close

Reinvigorated from their summer vacation, the hard-working staff at Maximum Z HQ has assembled the latest batch of projects from savvy creatives well worth your time and attention.

-Writer/director/producer Aaron Mendelsohn is offering a special 20% discount for his new ebook The 11 Fundamental Questions: A Guide to a Better Screenplay. Aaron is the co-creator and co-writer of the AIR BUD franchise (12 films and counting), has served as Secretary-Treasurer for the Writers Guild of America, and is currently a Professor of Screenwriting at Loyola Marymount University.

-Writing coach and author EJ Runyon runs the online writing service Bridge to Story. She’s launched the Little by Little crowdfunding project to help her build a vehicle that with your help will bring her services to those without internet access “anywhere in the lower 48”. You don’t “donate” to her Kickstarter; you book a coaching or story editing session and your funds go to the build!

-Screenwriter Phillip Hardy has launched his own script consulting company The Script Gymnasium. Phillip’s scripts have placed or won at over 30 film festivals and script contests, including Austin and Screencraft, and he also serves as a judge in the New York City Midnight Screenwriting Challenge. Seeking help to get your script in shape? He’s your guy.

-Writer-director Josh Mitchell runs Wicked Pissa Publicity, but has also worked on a lot of short films and is now running a crowdfunding campaign for his feature-length family film project HARRY HEAD, an original story about loyalty, family, unity and differences. Donate if you can!

-Screenwriters Chris and Jay Thornton have been busy the past couple of years with some script sales and developing a TV show with The Weinstein Company, but they’re now working on their debut feature CACTUS JACK, “an ultra-contained, thematically supercharged and extremely relevant gonzo micro-budget film.” A crowdfunding project is up, and you can view the NSFW proof-of-concept trailer here. Donate if you can! And as an added bonus, an interview with the Thorntons will post in the very near future.

Have a project of your own for which you’d like a little help getting the word out? Our email inbox is always open.

Lattes, lunches & kindred spirits

coffee
“And then he actually asked, “But what’s your Save the Cat moment?””

It’s been a busy week around here, and not just in terms of writing.

I’ve had some great in-person meet-ups with three other local writers over the past couple of days. Two were first-timers, the third was someone I’ve known for a couple of years. Each one was great in its own way. This really is one of my favorite parts of networking – actually meeting somebody else and getting to know them.

Because of my work schedule, lunch or early afternoon coffee are ideal. I prefer a nice little cafe because it always makes for a better one-on-one environment: quiet, sociable, pleasant. Larger networking events, usually at bars, tend to be pretty crowded and noisy, which makes it tough to establish a solid rapport. I’m not too keen on having to continuously shout and not be entirely sure either of us can hear the other.

The first meeting usually involves the exchanging of “here’s my story” mini-bios, and then moves on to what’s going on for both parties. Over the course of about an hour, we’ll share and discuss our individual journeys as writers. Everybody’s journey is different, and I always find each one quite fascinating.

We often share many similarities: our constantly working in the hopes of eventually succeeding as a writer (or filmmaker), the noticeable excitement while discussing our latest project(s), wondering how it’ll go and how it’ll be received.

We are also allowed free rein to vent our frustration about whatever’s currently sticking in our respective craws. Bad experiences, lack of funds for a project, feeling stuck with developing a story, dealing with lousy notes, and so on. One of my new connections even stated, “It’s nice to know I’m not the only one this has happened to!”

That may be what’s at the heart of all of this: knowing you’re not the only one trying to do this, and that somebody else totally understands what it is you’re going through. Simply being able to chat about it in a casual social setting can do wonders; one might even call it therapeutic.

I also make a point of offering to help out in any capacity I can, which tends to usually be either giving script notes or suggesting potential contacts and strategies, and just about everybody is more than happy to reciprocate. Who can’t use a little help?

If you haven’t done so already, I heartily recommend reaching out and connecting with somebody in your area, especially if both of you are within close proximity to each other. Chances are they’re seeking to do the exact same thing.

You know the saying, “It’s not what you know, it’s who you know”? Well, this not only applies to breaking in, but also to helping you work your way towards that. Building up your personal network of fellow creatives is easy, won’t cost you that much (just what you’d spend on a cup of coffee or a meal), and is a definite plus for all involved.