Screenwriter: Difference between revisions
wrote about how screenwriters get recognized after their film is a success. How screenwriters have the opportunity to work with others in developing a film. Added a scholarly source. |
changed 'its' to 'their' (writers are people too) |
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Script-doctoring can be quite lucrative, especially for the better known writers. [[David Mamet]] and [[John Sayles]], for instance, fund the movies they direct themselves, usually from their own screenplays, by writing and doctoring scripts for others. In fact, some writers make very profitable careers out of the script doctoring food chain, being the ninth or tenth writer to work on a piece; in many cases, working on projects that never see exposure to an audience of any size. Script doctoring companies, also known as script consultancies, are also often used by directors, production companies and individual screenwriters. These usually do not offer full re-writes, but are used when a production company or an individual requires feedback on whether or not a script is marketable, how it can be improved, and whether or not it holds any potential for development. |
Script-doctoring can be quite lucrative, especially for the better known writers. [[David Mamet]] and [[John Sayles]], for instance, fund the movies they direct themselves, usually from their own screenplays, by writing and doctoring scripts for others. In fact, some writers make very profitable careers out of the script doctoring food chain, being the ninth or tenth writer to work on a piece; in many cases, working on projects that never see exposure to an audience of any size. Script doctoring companies, also known as script consultancies, are also often used by directors, production companies and individual screenwriters. These usually do not offer full re-writes, but are used when a production company or an individual requires feedback on whether or not a script is marketable, how it can be improved, and whether or not it holds any potential for development. |
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Some screenwriters have also found work by selling a [[Film treatment|treatment]] (approximately 10-30 pages) or synopsis (usually 1-2 pages), of their screenplay even if it isn't completed yet. This is, however, rare among all screenwriters but success is far more likely for writers with more established careers and contacts in the film and television industry. For some screenwriters, pairing with an industry-based representative, such as a producer, director, talent or literary agent or studio executive, will yield successful movement of their material. These partnerships will often pitch their project to investors or others in a position to further a potential project. Once the script is sold the writer only has the rights that were agreed with the purchaser. <ref>{{cite journal|last=Ferguson|first=Brooks|title=Creativity and integrity: Marksting the “in development” screenplay|journal=Psychology and Marketing|date=17|year=2009|month=April|volume=26|issue=5|pages=428|doi=10.1002/mar.20281|accessdate=27 April 2011}}</ref> A screenwriter becomes credible once |
Some screenwriters have also found work by selling a [[Film treatment|treatment]] (approximately 10-30 pages) or synopsis (usually 1-2 pages), of their screenplay even if it isn't completed yet. This is, however, rare among all screenwriters but success is far more likely for writers with more established careers and contacts in the film and television industry. For some screenwriters, pairing with an industry-based representative, such as a producer, director, talent or literary agent or studio executive, will yield successful movement of their material. These partnerships will often pitch their project to investors or others in a position to further a potential project. Once the script is sold the writer only has the rights that were agreed with the purchaser. <ref>{{cite journal|last=Ferguson|first=Brooks|title=Creativity and integrity: Marksting the “in development” screenplay|journal=Psychology and Marketing|date=17|year=2009|month=April|volume=26|issue=5|pages=428|doi=10.1002/mar.20281|accessdate=27 April 2011}}</ref> A screenwriter becomes credible once their work is recognized, giving the writer the opportunity to earn a higher income.<ref>{{cite journal|last=Ferguson|first=Brooks|title=Creativity and integrity: Marketing the “in development” screenplay|journal=Psychology and Marketing|date=17|year=2009|month=April|volume=26|issue=5|pages=428|doi=10.1002/mar.20281|accessdate=27 April 2011}}</ref> |
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One of the most important elements in bringing an idea to fruition for a studio to produce is attaching the right screenwriter to the project. Often projects are sold to studios who then assign their own preferred screenwriters to complete the script or write the final draft. |
One of the most important elements in bringing an idea to fruition for a studio to produce is attaching the right screenwriter to the project. Often projects are sold to studios who then assign their own preferred screenwriters to complete the script or write the final draft. |
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Revision as of 14:00, 12 June 2011
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Screenwriters or scenarists or scriptwriters are people who write/create the short or feature-length screenplays from which films and television programs are based.
Many screenwriters start their careers writing on speculation (spec), meaning they write without being hired or paid for it. When such a script is sold, it is called a spec script.
Screenwriters have their ideas produced in a script with the intention of making it into a film. [1] The majority of the times a film project gets initiated by “a screenwriter.” [2] There are times when more than one writer will work on a script. [3]
Many of them also work as "script doctors", attempting to better a script to suit the desires of a director or studio. For instance, studio management may have a complaint that the motivations of the characters are unclear or that the dialogue is weak.
Script-doctoring can be quite lucrative, especially for the better known writers. David Mamet and John Sayles, for instance, fund the movies they direct themselves, usually from their own screenplays, by writing and doctoring scripts for others. In fact, some writers make very profitable careers out of the script doctoring food chain, being the ninth or tenth writer to work on a piece; in many cases, working on projects that never see exposure to an audience of any size. Script doctoring companies, also known as script consultancies, are also often used by directors, production companies and individual screenwriters. These usually do not offer full re-writes, but are used when a production company or an individual requires feedback on whether or not a script is marketable, how it can be improved, and whether or not it holds any potential for development.
Some screenwriters have also found work by selling a treatment (approximately 10-30 pages) or synopsis (usually 1-2 pages), of their screenplay even if it isn't completed yet. This is, however, rare among all screenwriters but success is far more likely for writers with more established careers and contacts in the film and television industry. For some screenwriters, pairing with an industry-based representative, such as a producer, director, talent or literary agent or studio executive, will yield successful movement of their material. These partnerships will often pitch their project to investors or others in a position to further a potential project. Once the script is sold the writer only has the rights that were agreed with the purchaser. [4] A screenwriter becomes credible once their work is recognized, giving the writer the opportunity to earn a higher income.[5] One of the most important elements in bringing an idea to fruition for a studio to produce is attaching the right screenwriter to the project. Often projects are sold to studios who then assign their own preferred screenwriters to complete the script or write the final draft.
Most professional screenwriters in the U.S. are unionized and are represented by organizations such as the Writers Guild of America. The WGA is the final arbiter on awarding writing credit for projects under its jurisdiction.
References
- ^ Ferguson, Brooks (17). "Creativity and integrity: Marketing the "in development" screenplay". Psychology and Marketing. 26 (5): 428. doi:10.1002/mar.20281.
{{cite journal}}:|access-date=requires|url=(help); Check date values in:|date=and|year=/|date=mismatch (help); Unknown parameter|month=ignored (help) - ^ Ferguson, Brooks (17). "Creativity and integrity: Marketing the "in development" screenplay". Psychology and Marketing. 26 (5): 428. doi:10.1002/mar.20281.
{{cite journal}}:|access-date=requires|url=(help); Check date values in:|date=and|year=/|date=mismatch (help); Unknown parameter|month=ignored (help) - ^ Ferguson, Brooks (17). "Creativity and integrity: Marketing the "in development" screenplay". Psychology and Marketing. 26 (5): 428. doi:10.1002/mar.20281.
{{cite journal}}:|access-date=requires|url=(help); Check date values in:|date=and|year=/|date=mismatch (help); Unknown parameter|month=ignored (help) - ^ Ferguson, Brooks (17). "Creativity and integrity: Marksting the "in development" screenplay". Psychology and Marketing. 26 (5): 428. doi:10.1002/mar.20281.
{{cite journal}}:|access-date=requires|url=(help); Check date values in:|date=and|year=/|date=mismatch (help); Unknown parameter|month=ignored (help) - ^ Ferguson, Brooks (17). "Creativity and integrity: Marketing the "in development" screenplay". Psychology and Marketing. 26 (5): 428. doi:10.1002/mar.20281.
{{cite journal}}:|access-date=requires|url=(help); Check date values in:|date=and|year=/|date=mismatch (help); Unknown parameter|month=ignored (help)