https://drive.google.com/file/d/0B_s_LVkV33WTT2dGOHA0Y05WQVk/view?usp=sharing
I certify this is my own work
Thursday 22 January 2015
studio production presentation pitch 2 and script
https://drive.google.com/file/d/0B_s_LVkV33WTM1lxQ1djMWtDSEk/view?usp=sharing
https://drive.google.com/file/d/0B_s_LVkV33WTT2dGOHA0Y05WQVk/view?usp=sharing
https://drive.google.com/file/d/0B_s_LVkV33WTT2dGOHA0Y05WQVk/view?usp=sharing
Wednesday 7 January 2015
Tuesday 6 January 2015
Unit 24 Podcast
Becoming a screenwriter
Within this industry, you are generally more likely to get hired if you show a good understanding and a lot of experience in screenwriting, rather than a few qualifications on a piece of paper. The employer isn't going to want to sit through masses of boring paper work are they? they'll want to be reading an interesting script or screenplay.
However, if you're new to this field of work, you're not going to be able to write a perfect screenplay in one go. A good Screenwriter will always gather together a group of trusted readers who can collectively deliver constructive criticism and feedback in order for you to correct and improve your work, giving you the best chance possible of getting hired.
The easiest way to get yourself noticed is by getting your work out there to loads of different companies, though you probably wont hear back from anyone in your first few attempts, so do expect rejection, a lot of rejection. Writers used to be able to apply directly to the uk film council for development funding, but unfortunately those funds are now distributed by the BFI.
Another great way to rocket yourself into this industry is by entering screenplay contests. Not all you come across will be worth the hassle and the funding, but some like the Nicholl Fellowship are well astablished launch pads for new writers. If you do enter these contests, dont be disheartened if you dont win, as many hollywood production companies wont only look at the winning scripts, they'll also look through the top ten or even twenty scripts so you could still have a chance of success.
Becoming a screenwriter clearly wont provide a steady fixed income, especially within the starting process. Most writers will often have a second or even third job to earn themselves money whilst they get established. In the long run, its probably a better idea to have a non-media related job, leaving you plenty of time to wirk on your scripts and screenplays rather than spending countless hours in a draining positon at the very bottom of the entertainment industry.
A good website to start creating your screenplays which i found very helpful is adobe story. This website gives you all the tools you need to create a professional looking screenplay which you can then take around to different production companies and begin building your career in the media.
What is a staff writer
A staff writer is basically the first steps to becoming a television writer. Your role will consist of sitting in a large conference room with other writers where you will deeply analyse and break down scripts, develop the plot and narrative and so on. The group will then bounce ideas off one another and come up with brainstorms. Due to these groups being so large, if and criticism is given it should be backed up by a solution to the issue.
here is a list of staff writers for the popular comedy show 'Saturday Night Live':
Within this industry, you are generally more likely to get hired if you show a good understanding and a lot of experience in screenwriting, rather than a few qualifications on a piece of paper. The employer isn't going to want to sit through masses of boring paper work are they? they'll want to be reading an interesting script or screenplay.
However, if you're new to this field of work, you're not going to be able to write a perfect screenplay in one go. A good Screenwriter will always gather together a group of trusted readers who can collectively deliver constructive criticism and feedback in order for you to correct and improve your work, giving you the best chance possible of getting hired.
The easiest way to get yourself noticed is by getting your work out there to loads of different companies, though you probably wont hear back from anyone in your first few attempts, so do expect rejection, a lot of rejection. Writers used to be able to apply directly to the uk film council for development funding, but unfortunately those funds are now distributed by the BFI.
Another great way to rocket yourself into this industry is by entering screenplay contests. Not all you come across will be worth the hassle and the funding, but some like the Nicholl Fellowship are well astablished launch pads for new writers. If you do enter these contests, dont be disheartened if you dont win, as many hollywood production companies wont only look at the winning scripts, they'll also look through the top ten or even twenty scripts so you could still have a chance of success.
Becoming a screenwriter clearly wont provide a steady fixed income, especially within the starting process. Most writers will often have a second or even third job to earn themselves money whilst they get established. In the long run, its probably a better idea to have a non-media related job, leaving you plenty of time to wirk on your scripts and screenplays rather than spending countless hours in a draining positon at the very bottom of the entertainment industry.
A good website to start creating your screenplays which i found very helpful is adobe story. This website gives you all the tools you need to create a professional looking screenplay which you can then take around to different production companies and begin building your career in the media.
What is a staff writer
A staff writer is basically the first steps to becoming a television writer. Your role will consist of sitting in a large conference room with other writers where you will deeply analyse and break down scripts, develop the plot and narrative and so on. The group will then bounce ideas off one another and come up with brainstorms. Due to these groups being so large, if and criticism is given it should be backed up by a solution to the issue.
here is a list of staff writers for the popular comedy show 'Saturday Night Live':
- Anne Beatts
- Chevy Chase
- Tom Davis
- Lorne Michaels
- Michael O'Donoghue
- Herb Sargent
- Tom Schiller
- Rosie Shuster
- Alan Zweibel
and so on...
What is the commissioning process
In the commissioning process the fist thing that'll be looked at is the genre. If they like it and think it'll fit in well with their mix they may ask you to develop your idea further. If and when they thing your idea is ready they'll take it to the channel controller. Companies such as the BBC will try to make the commissioning decisions as fast as possible. They will give feedback on ideas that they have been developing but it will vary by genre depending on the amount of proposals coming in.
What feedback should you expect?
For rejections at an early stage, high volume areas like Factual will give headline feedback only. Lower volume areas will provide more detail.
Proposals that are rejected later in the commissioning process will receive more specific feedback. This may include subject matter, format, audience, plot or character - to provide a useful steer for future projects.
If for example you were to submit your screenplays to a channel such as ITV, they say that they aim to respond to all submissions within four to six weeks. However if you are interested in working for ITV they only accept submissions from production companies, so you should join a good working company if you want to start a career with ITV.
The Option Period
The option period is the time taken by the producer or the studio to get the film/screenplay up and running. the length of time could vary drastically from 6 months to 3 years, and often you may find that the producers will include an option extension in there agreement if more time is needed. The option agreement will enclose the sum of money in which the writer will receive for letting the producer utilize their screenplay in order to develop it. This payment will again vary drastically from little to a lot of money, and if the producer requires an extension, the writer will receive another option payment. the amount of money the writer receives will depend highly on the level of experience they have, and what would be a fair offer to them if the screenplay was to make it into production.
Why do you need an agent
you will need an agent who is able to find you good opportunities to express your work and develop a name for yourself. Even if you come across a producer who is interested in your work, you should never go forward with it if you don't have an agent beside you.
When you find a suitable, well qualified agent you must make sure they know you inside and out. They should know you level of writing skill, where you want your work to end up, who you want to work for etc.
How does a staff writer get paid
A staff writer doesnt get paid script fees on top of their weekly salaries. This means if they are hired on a specific show and write a couple of the episodes on their own, they dont make any more money than they are commissioned to.
Plagerism
Plagerism is such a big issue for writers because its so hard to come up with an original idea that hasnt already been copyrighted. Plagerism is when somebody uses someone elses work and classes it as their own. This is very illegal as it is still classed as stealing. Screenwriters have to go through a long process of getting their work checked and analysed to make sure they havent stolen ideas from other screenplays.
In the california federal court, screenwriters Stephanie Counts and Shari gold filed a lawsuit against 21st Century Fox, accusing them of stealing the idea for their hit TV show 'New Girl'. They said that they stole it from a pilot and screenplay script which they had written back in 2006. They have also named show creator Elizabeth Meriwether, executive producer Peter Chernin, director Jake Kasdan and William Morris Endeavor as defendants in the suit. The lawsuit made very bold allegations that the idea of 'New Girl' was given to an agent at William Morris through a network of communications, and it was eventually given to Meriwether to alter and produce, passing it off as her own and taking full credit.
High and low points
I believe there are many highs and lows of working as a screenwriter. The highs would be that if you get a lucky break, your screenplays will be broadcasted to millions world wide and make lots of money, if its successful. This means you will begin your career and design and develop many more shows and films in the future.
The main low points would be waiting for your ideas to be noticed in the initial stages of becoming a screenwriter. The actual effort you put in to getting yourself out there and involved in the industry is the hardest part of the job, once you succeed in this you should be on your way to the career in media that you've always wanted.
Podcast
https://drive.google.com/file/d/0B_s_LVkV33WTc2lXY0MzUzdLYkxrUk1ReWZSTXpacy1zR2ow/view?usp=sharing
I certify this is my own work
What feedback should you expect?
For rejections at an early stage, high volume areas like Factual will give headline feedback only. Lower volume areas will provide more detail.
Proposals that are rejected later in the commissioning process will receive more specific feedback. This may include subject matter, format, audience, plot or character - to provide a useful steer for future projects.
If for example you were to submit your screenplays to a channel such as ITV, they say that they aim to respond to all submissions within four to six weeks. However if you are interested in working for ITV they only accept submissions from production companies, so you should join a good working company if you want to start a career with ITV.
The Option Period
The option period is the time taken by the producer or the studio to get the film/screenplay up and running. the length of time could vary drastically from 6 months to 3 years, and often you may find that the producers will include an option extension in there agreement if more time is needed. The option agreement will enclose the sum of money in which the writer will receive for letting the producer utilize their screenplay in order to develop it. This payment will again vary drastically from little to a lot of money, and if the producer requires an extension, the writer will receive another option payment. the amount of money the writer receives will depend highly on the level of experience they have, and what would be a fair offer to them if the screenplay was to make it into production.
Why do you need an agent
you will need an agent who is able to find you good opportunities to express your work and develop a name for yourself. Even if you come across a producer who is interested in your work, you should never go forward with it if you don't have an agent beside you.
When you find a suitable, well qualified agent you must make sure they know you inside and out. They should know you level of writing skill, where you want your work to end up, who you want to work for etc.
How does a staff writer get paid
A staff writer doesnt get paid script fees on top of their weekly salaries. This means if they are hired on a specific show and write a couple of the episodes on their own, they dont make any more money than they are commissioned to.
Plagerism
Plagerism is such a big issue for writers because its so hard to come up with an original idea that hasnt already been copyrighted. Plagerism is when somebody uses someone elses work and classes it as their own. This is very illegal as it is still classed as stealing. Screenwriters have to go through a long process of getting their work checked and analysed to make sure they havent stolen ideas from other screenplays.
In the california federal court, screenwriters Stephanie Counts and Shari gold filed a lawsuit against 21st Century Fox, accusing them of stealing the idea for their hit TV show 'New Girl'. They said that they stole it from a pilot and screenplay script which they had written back in 2006. They have also named show creator Elizabeth Meriwether, executive producer Peter Chernin, director Jake Kasdan and William Morris Endeavor as defendants in the suit. The lawsuit made very bold allegations that the idea of 'New Girl' was given to an agent at William Morris through a network of communications, and it was eventually given to Meriwether to alter and produce, passing it off as her own and taking full credit.
High and low points
I believe there are many highs and lows of working as a screenwriter. The highs would be that if you get a lucky break, your screenplays will be broadcasted to millions world wide and make lots of money, if its successful. This means you will begin your career and design and develop many more shows and films in the future.
The main low points would be waiting for your ideas to be noticed in the initial stages of becoming a screenwriter. The actual effort you put in to getting yourself out there and involved in the industry is the hardest part of the job, once you succeed in this you should be on your way to the career in media that you've always wanted.
Podcast
https://drive.google.com/file/d/0B_s_LVkV33WTc2lXY0MzUzdLYkxrUk1ReWZSTXpacy1zR2ow/view?usp=sharing
I certify this is my own work
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