A WRITER All writers work differently depending on a number of factors but mainly due to their own personal preferences. In terms of time management, a writer will break up their writing time according to their days structures. A writer may break up their day, opting to write for a certain period of time. Depending on the writers will power, writers will choose how long to work and how long to take a break. Some writers will set a limit of how much they want to write allowing them to reach their goals and not over do it. Yet some writers will spend all day working on one piece. Overall, all writers have their own time management structures that work for them. Writing is a job that differs to any over in regards to income. Writers will often find themselves working for a long period of time with little to no source of income. Writers will often option their work or gain a commission to secure a regular and liveable income.
OPTIONING Optioning is when a Producer or Production company a paying you a fixed amount of money upfront for the right to develop your project for a specific amount of time. You agree to take it off the market during this option period and not shop it anywhere else. During this time, the option holder can “execute the option” and buy all rights for an agreed amount thus own the project completely. If the option expires, the producer has an opportunity to renew it for a set price and for another set amount of time if you agree. If you didn’t enjoy the development process with the producer, the rights revert back to you and you’re free to walk away and consider better opportunities.
AGENTS A literary agent is an agent who represents writers and their written works to publishers, theatrical producers and film producers and assists in the sale and deal negotiation of the same. Literary agents most often represent novelists, screenwriters and non-fiction writers. They are paid a fixed percentage of the proceeds of sales they negotiate on behalf of their clients. literary agents exist largely to provide services to authors. These services include connecting the author's work with appropriate publishers, contract negotiation, ensuring payment of royalties, and acting as a mediator if there are problems between the author and the publisher Agents also assist publishing houses and others in expediting the process of review, publication, and distribution of authors' works. Many well-known, powerful, and lucrative publishing houses (such as the Big Six) are generally less open than smaller publishers to un-agented submissions. A knowledgeable agent knows the market, and can be a source of valuable career advice and guidance.
LEGAL AND ETHICAL ISSUES legal and regulatory guidelines and constraints protect viewers and material. Using copyrighted material such as music can create huge legal issues in which companies and individuals are forced to pay compensation to the owner of the material. Plagiarism is very similar as the consequences can be just as bad as using copyright material. Ethical issues can also cause problems for writers and commissioners as regulatory bodies such as monitor media formats in order to protect potential viewers from suffering from offensive material.
COMMISSIONING BODIES Writers are always looking to get work commissioned whether its in film, television or on the radio. There are a number of ways that a writer will try to get their work commissioned but most of the work is done by the agent. Small production companies such as Coffee Films will often look at upcoming writers. Small production companies are very good ways for new writers to get their work noticed. However small production companies will often have small budgets that will limit the resources of the director and could hinder your works success. However, if a writers work is good enough then they should have a positive road ahead of them. Large production/media based companies such as the BBC are another yet much harder company that could decide to commission your work. The difference with large companies is that they will often commission renowned and successful writers. Another way of having your script commissioned is to enter competitions such as the Blue cat screen writing competition. If your work wins, companies will often see potential in your script writing ability and could fund your scripts creation into a film, TV program.
THE SCRIPTS JOURNEY Script Editors Script Editors provide a critical overview of the screenwriting process, and liaise between the Producer or Development Executive and the Screenwriter. Script Editors do not offer solutions, but instead use their analytical skills to help Screenwriters identify problems, explain the potential consequences of Screenwriters' choices, and thereby help to strengthen and develop screenplays. Script Editors are sometimes full-time employees of a Production company, but more often they are employed on a freelance basis, and their fees and levels of involvement are negotiable.
THE SCRIPTS JOURNEY Script Readers Script Readers must have specific skills in analysing screenplays. They evaluate Screenwriters' work, and make recommendations about the next stage in the process. They may also work in other film industry roles, Script Reading to make extra money, and to hone their analytical skills. The work is not always well paid, but it can be very satisfying, and is a useful entry route into Script Editing and Script Development. Script Readers mainly work for public funded bodies, such as the UK Film Council, or the Regional Screen Agencies. Where UK film companies use Script Readers, they are usually trusted Readers or Script Editors, whose opinions are highly respected by Producers or Development Executives. Script Readers may also be commissioned by Screenwriters to provide objective opinions on screenplays before they are submitted to Producers or funding bodies.
THE SCRIPTS JOURNEY Development Executives Development Executives have the primary responsibility for seeking out interesting Screenwriters and stories, developing screenplays for production, and managing their organisation's development slate. They need in-depth knowledge of the international market for films, and of changing audience tastes. They discover projects with artistic and commercial potential, and use their contacts and skills to recruit teams of Screenwriters, Script Editors and Directors with the talent and experience to transform the initial premise into a compelling screenplay. While all Development Executives must find new projects and nurture writing talent, their exact responsibilities depend on whether they are working for a small independent Producer, a larger production company, or a screen agency. Development Executives are responsible for acquiring and developing stories and screenplays that will make successful theatrical films, whether they are for general release, the niche market, or (in the case of short films) for festival screening. This requires a keen understanding of tone and genre, of the underlying structure and language of film narrative, and of the emotional impact different types of films have on various audiences.
PRODUCTION STAGES Script writers have will continue to work with the director when the script is in the production stages. A writer has usually spent months maybe years developing their script. They have dedicated time into the creations of their characters and their lives. So its natural for writers to want to give their input to the director were he seems necessary. Writers often disagree with directors on certain scenes or the portrayal of certain characters, however most work well together as at the end of the day they are creating a piece of work that they will both be credited for.
REFERENCES http://www.bluecatscreenplay.com/ http://www.coffeefilms.com/ http://www.bbc.co.uk/ http://www.bbc.co.uk/writersroom/