Who Gets Story Credit?
by Jaden
photo credit: jumpinjimmyjava – iKIVA …. you can KIVA too
Writing should be a fun, but sometimes, when you involve other people, it becomes legally messy and confusing as to who holds the rights to the story.
Story credit is not what you might think.
Per the WGA, here are some important points on which I will elaborate below with a fictitious scenario.
Story
The term “story” means all writing covered by the provisions of the Minimum Basic Agreement representing a contribution “distinct from screenplay and consisting of basic narrative, idea, theme or outline indicating character development and action.”
It is appropriate to award a “Story by” credit when:
1) the story was written under employment under Guild jurisdiction; 2) the story was purchased by a signatory company from a professional writer, as defined in the Minimum Basic Agreement; or 3) when the screenplay is based upon a sequel story written under the Guild’s jurisdiction. If the story is based upon source material of a story nature, see “screen story” below.
Screenplay
A screenplay consists of individual scenes and full dialogue, together with such prior treatment, basic adaptation, continuity, scenario and dialogue as shall be used in, and represent substantial contributions to the final script.
A “Screenplay by” credit is appropriate when there is source material of a story nature (with or without a “Screen Story” credit) or when the writer(s) entitled to “Story by” credit is different than the writer(s) entitled to “Screenplay by” credit.
“Written by”
The term “Written by” is used when the writer(s) is entitled to both the “Story by” credit and the “Screenplay by” credit.
This credit shall not be granted where there is source material of a story nature. However, biographical, newspaper and other factual sources may not necessarily deprive the writer of such credit.
WRITTEN MATERIAL PREVAILS
Decisions of Arbitration Committees are based upon literary material. Claims of authorship must be supported by literary material appropriate for submission to the Arbitration Committee. In the event of conflicting claims, literary material always prevails.
No Other Credits Approved
Any form of credit not expressly described in this (WGA) Manual shall be used only upon receipt of a waiver from the Guild. Fewer names and fewer types of credit enhance the value of all credits and the dignity of all writers.
Are You A Professional Writer?
If you are selling material to a signatory company, you must be considered a “professional writer” to be eligible for writing credit. The MBA generally defines a “professional writer” as a person who has received employment for a total of thirteen weeks as a television or theatrical motion picture writer; or received credit as a writer on a television or theatrical motion picture (including series); or received credit for a professionally produced play or a published novel.
To make story credit easily understandable, let’s use Alfred Hitchcock as our character in this fictitious story about story credit.
Alfred Hitchcock is sitting at his table one morning reading the newspaper. His wife brings him coffee mixed just the way he likes it. “Hey, honey, listen to this,” Alfred says to his wife. He reads the paper: “Crows, seagulls, and other birds rain from the sky all over Capitola. Unexplained, authorities say it may be related to poisoned shellfish. Before dying, the birds are reported to have gone crazy and attacked people.” Hitchock puts the paper down. “Wouldn’t that make for a unique movie, darling, don’t you think? Birds attacking people?”
Alma Hitchcock agrees and throws out some ideas. Alfred takes note of them. She’s always full of good ideas.
Alfred then calls his long time friend screenwriter Bob and tells Bob about the story. “So what do you think Bob, you want to work on the script with me?” Bob declines and says he is too busy, but agrees it is a great idea.
Alfred then talks to an old friend Charlie that he hadn’t talked to in a while, someone who has nothing to do with the film industry at all and has no experience. Out of normal friendship and conversation, Alfred tells Charlie about the new movie he wants to make in full detail, including the story arch, all the main characters, how the story will end, and what is the theme.
Loving the story, Charlie gets excited and starts throwing out all kinds of great ideas to Alfred. Alfred never thought of Charlie as a potential writing partner, but his ideas are so good, he says, “Hey Charlie, you want to work on this script with me?” Excited, Charlie says yes and starts researching real incidents right away.
Alfred writes a treatment based on his initial ideas and registers the story idea with WGA.
Charlie and Alfred have many talks about the script and start to flesh it out. Alfred writes out thirty pages of the script based on his own and Charlie’s ideas.
Alfred also finds this great book The Birds by Daphne du Maurier, which he incorporates into his overall idea.
Alfred then gets sidetracked for many months by his other film projects, including one script that he wrote from scratch beginning to end with Charlie that was rejected by producers. After a while, Alfred tells Charlie, “Ok, let’s work on the birds script again.”
Charlie says, “I’m not working on it with you unless you re-register the story credit to my name too.”
Alfred feels uncomfortable by this new demand from his old buddy, since it was indeed Alfred’s own initial idea. Alfred tells Charlie, “I can’t worry about this right now, I am too busy. Can we talk about this later.”
Charlie then says, “Well, it’s not your story idea. You read it in the newspaper. And you read that book. They should get story credit, not you. I gave you a lot of ideas and I want story credit.”
Alfred excuses himself from the conversation and hangs up, but Charlie calls him back 10 times in a row, insisting Alfred immediately change the registration of the story.
Alma asks Alfred, “What’s going on?” Alfred tells her. Alma says, “Goodness, I think I gave you more ideas than Charlie did, might as well give me story credit.” Alma and Alfred laugh.
The hostility and ignorance coming from Charlie makes Alfred not want to work with him at all, so he decides to shelve the project all together. Angry, Charlie never talks to Alfred again.
A year later, still too busy but still loving the story idea, Alfred takes out The Birds treatment and hires Evan Hunter to finish it. Evan re-writes the initial 30 pages that Alfred wrote, plus another 70 pages.
Five other writers are also paid and add substantial lines of dialog and story structure changes.
The Birds movie comes out in theaters and immediately, a series of lawsuits come down the line to Mr. Hitchcock. There is the one guy who wrote a similar story about birds attacking people and he mailed the script to himself in a sealed envelope. There is another guy who copyrighted his script about birds attacking people. A third guy read the same news articles and books as Alfred did and he also registered a very similar script. Then there is Alfred’s good ol’ friend Charlie.
Alfred, of course, never heard of these other guys or their scripts, but now they all want a piece of his pie and everyone is suing him. Did they do the work and bring their own scripts to the movie screen? No.
WHO GETS STORY CREDIT? Who gets screenwriting credit? And who gets paid?
1) The Wife?
No.
The wife gave lots of good ideas and support right from the beginning, as did lots of Hitchcock’s friends. Do they get credit or paid? No.
It was still Hitchcock’s initial idea to move forward and write a script and make a movie. Without Hitchcock telling people, “I want to make this movie about birds attacking people,” it would not have been made. People can offer Hitchcock ideas at their own discretion.
Hitchcock may decide to pay them or give them some kind of credit, but it is not mandatory, it would just be a consideration based on how much a person contributed to the final product. Over three screenwriting credits is frowned upon and generally forbidden by the writers’ guild.
Yes, the wife would get credit if…
Had the wife, in the kitchen that morning, said to Alfred, “I would like to write a script about that story,” or they had the idea at the exact same time and she then wrote a treatment or a first draft screenplay for Alfred, which she has in the past, then she would get a story or screenwriting credit, depending on what role she played and how much she contributed.
Giving ideas over meals or for lengthy periods of time does not earn story credit or screenwriting credit.
2) The buddy Charlie?
No, Charlie does not get story credit.
Charlie had lots of good ideas and they were going somewhere with it together, but it was not Charlie’s initial idea. As much as Charlie contributed, maybe 15 pages worth of ideas at most, the overall story arch that Hitchcock had in mind and pitched to Charlie in the first place, is still in tact and still the same. For Charlie to claim it as his own now, just because he worked on it and helped flesh it out some, is wrong. Charlie was working on the screenwriting phase and he did not carry out his part of the verbal agreement to write a full feature script together.
As time revealed, Hitchcock just had someone else write the script who was less confrontational and more pleasant to work with and who did not erroneously make a fuss about story credit.
Without Hitchcock, Charlie would never have had the idea to make a movie about attacking birds and was not even in the industry to do so. For Charlie to pursue the birds story any further as his own, would be fundamentally and legally wrong.
Since Charlie did not contribute a substantial amount of material to the final script and is not a professional writer, Charlie gets no credit.
3) The unknown Screenwriters?
No.
Alfred never heard of these guys and never read their scripts. Many people around the world may write similar screenplays — that does not give them the right, just because of coincidence, to get a piece of Hitchcock’s pie. People all live in the same world and have access to the same inspirations. No one lives alone in a vacuum of genius ideas that no one else had ever considered. We are all on the same vessel here, seeing and considering the same things. What matters is whether you take your idea to a finished product or not.
4) The Newspaper or its writers?
No, not usually.
Fiction stories usually do not give story credit to the non-fiction sources from where they may have initially been inspired or researched.
An extreme example of this, that I found highly strange at the time, was Elephant (2003) by Gus Van Sant. Not long after the real crime occurred in Colorado, this movie emerges depicting an almost identical version of a high school shooting, yet the movie is categorized as fiction and Gus Van Sant is the only person noted for writing credit. So either he was having a psychic experience and wrote the story before it happened, or he quickly turned it out afterwards. Either way, this is a major news story turned “fiction” with one writer receiving credit.
Usually, writers will fictionalize their fiction stories that were inspired by true stories, but even in this extreme case where Van Sant’s story perfectly mirrors the true story, he still takes all writing credit.
News and true stories are public domain, available for everyone. Hundreds, thousands, or millions of people may read or hear or relay a true story, a crime, a natural disaster, or a news story. Therefore, pin-pointing one source for credit becomes difficult and unnecessary.
Yes, story credit…
If a substantial amount of information is taken from only one specific written source about the true story, with very detailed and specific information that only one writer attained, one may give story credit to the source. A good example of this would be a non-fiction movie based on an expose story produced by 60 Minutes, Vanity Fair, or a book like Truman Capote’s In Cold Blood (1965).
Usually only non-fiction movies will give credit to their non-fiction sources, be it an expose or a book. Fiction movies usually do not give credit to their non-fiction sources.
5) The additional paid Screenwriters who worked on the script?
No.
The paid screenwriters do not get story credit, even if they rewrote the entire script and the new version is essentially all attributable to one of the paid writers, they still may not get a screenwriting credit and definitely will not get a story credit. They are paid to do a job: write.
6) The Author of the Book The Birds or Alfred Hitchcock?
Yes. Both are eligible for story credit.
In this case, and often is the case, whether the book was the initial inspiration or not, story credit will be given to the book (fiction or non-fiction) that most closely resembles the final film because of its firm and indisputable existence in the world.
Let’s say that Alfred read the news article that inspired him. Had he written a fiction script entirely without any research other than the one news article he read, Hitchcock would take the Story By credit or Written By.
Since Alfred (in my fictitious example) proceeded to research the topic and read the book The Birds and he liked lots of the scenes in it and he wanted to use them, he and his lawyer decided to give credit to the author of the book.
Let’s say the author of the book The Birds was inspired by the exact same news article as Alfred and Alfred is not even using very many details from the book, Alfred’s lawyer still may choose to give story credit to the author just to get rid of the heat by all the other people who wrote similar stories and seek payment and credit. If you can point to a source and give credit, lawyers usually choose to do that as a technicality to alleviate pressure from other claims, and appease a judge or arbiter.
Paying the author of the book for story credit, whether it was the true inspiration or not, is like buying story insurance in Hollywood. Whether the book is the main source or not, it gives a safe legal place to say is the source.
STORY CREDIT versus SCREENWRITING CREDIT
Story credit will go to the person who has the initial seed of an idea and the most tangible material to back it: that may be a screenwriter inspired by some observation in the world or it may go to the author of a book.
Story credit does not go to the many screenwriters and people with good ideas who helped develop the script along its journey to the big screen.
No more than 2 people may receive story credit.
Screenwriting credit will go to whoever contributed the most to the final script, or whoever had the best contract. Often there may be 20 writers on a blockbuster movie. How many credits do you see on the screen? Usually just one to three screenwriting credits will appear; they are:
- The initial writer, the person who wrote the first draft or whose story idea it was
- The writer who physically wrote the most material in the script
- The writer who has the best lawyer and agent who best negotiates on his behalf for credit and royalties
If the movie is a WGA sanctioned major movie, the other screenwriters will get paid to union writers’ scale, but they won’t necessarily get a credit, even if they worked a year on the script!
It is impossible to give credit to every single source and every single person who offers ideas on a script. Giving too many credits is considered tres gauche and unprofessional. Whoever had the initial idea that got the ball rolling is obviously key and essential. Beyond that, credit is debatable.
This article provides fictitious scenarios based on some real people to give you a general idea of how story and screenplay credit work; please consult a literary entertainment lawyer if you have real concerns and require legal advice.
Do I Need an Agent?
by Jaden
photo credit: urbanshoregirl
If you are wondering if you need an agent to be a paid screenwriter, the answer is yes!
Below are some questions I have received that are followed by my answers.
Is it absolutely imperative that I get representation?
Yes, if you want to work in mainstream Hollywood. Otherwise, you can give your work for free or cheap to independent filmmakers or simply produce and direct your own scripts.
Cannot I just send my screenplay to the independent branches of the major studios… (warner independent, paramount vantage, etc.)?
No. They will kindly stamp the envelope, “RETURN TO SENDER,” and send it back unopened. Trust me, I have been the stamper in the legal department. It is a legal risk for any studio or network to receive your script because you could sue them later saying they stole your idea, even though they had been working on the same concept for four years or maybe preferred to buy the script from an established writer who sent his in one week after yours.
If you have already contacted the producer or agent and they have agreed to read your material, they will give you a release form to sign and you need to write on your envelope in black marker, “Release Form Enclosed.”
What about sending scripts to executive producers like Kevin Spacey or Brad Pitt for their respective production companies?
Sometimes that is acceptable. For legal reasons, most producers will not accept unsolicited scripts. You have to call the office and ask if they accept unsolicited scripts. If they do, usually they will send you a legal form to sign saying you won’t sue them, the Release of Liability. I have met lots of producers, directors, and actors who after meeting me in person, or knowing of my origin and relative sanity, trust that I won’t sue them, say, “Sure, send me your script.”
Or do I have to go through the normal hollywood process of getting an agent, having him read it and then having him attempt to find someone to take it?
Yes, this is best. There is a formal process. If you want to get a bidding war on your script and make millions of dollars on your first pop, you need to have your agent pump up the buzz and send out the script in one single day with no one ever having seen it before. This creates an auction environment and the money can fly. You look much more professional and can get a lot more money if you have your agent sending out your script. Anyway, most legitimate producers usually do not accept unsolicited materials. What you want to do is get an agent but also keep working the connections yourself, just in case your script doesn’t fly off the shelf. So when you meet someone in a buying position, you get their information and say, “I will have my agent send over the script.” After a few years, if your script still has not sold, it may never, and you should put your efforts towards new ideas.
I really don’t want to send my material to an agent. He didn’t write the story and I don’t need his interpretation of it and whom he thinks will buy it.
You do need an agent and he is going to take a nice 10 to 20% chunk of your dough too. He deserves it because he is going to negotiate on your behalf for lots of money that you simple cannot accomplish on your own. He also has all the connections to all the people who are in a position to buy your script. Even if someone at Sony somehow got a hold of your script and wanted to pay you $500,000 for it, they would connect you with an agency to do all the paperwork and everything and the agency is still going to take their same percentage no matter how much or how little work they did for you. It is to your benefit to have an agent. Let him do his job, and you do yours, which is to write!
I’m working on a pilot script. Who/where do I go to get it read?
For a pilot script, you want to have a script literary agent who specializes in television.
Click here for agencies accredited by the Writers Guild to represent you.
Generally, pilot scripts and TV show ideas are mostly only bought from well established writers, either best seller novelists or TV writers that have been in the business and have proven themselves. The reason for this is that a network is not going to want to risk millions of dollars on an unknown 22-year old writer, no matter how great his idea and writing are.
Don’t let this dissuade you from writing pilot scripts. If your pilot script is excellent, you may get a writing gig from it.
When you have a great TV idea, write and register it, because maybe one day you will become successful for something else, book/screenplay/short film/whatever, and then you can pull out your arsenal of registered and completed materials and sell those too. When you are hot, you are hot. Better to have a bunch of stuff to sell in that moment, than nothing. Your first movie may flop (even though it was the director’s fault) and your name might then be tarnished and you are back at the bottom. Having lots of prepared material is a good plan.
How do I get an agent?
First you need to select and contact an agent either via telephone or by letter and ask them if you may send samples of your writing and what is their procedure. Query letter is the standard approach and having someone who has recommended you is often required.
Usually, you will have to live in Hollywood if you want to write for television.
What type of sample scripts should I send?
Best is a sample of each type of writing to show your diversity: a spec script, a pilot script (an original television script), a screenplay (a movie script), and maybe even a short story. Poetry is the kiss of death — don’t send that! If you only want to write for TV or only for film, you may submit only screenplays or only TV scripts, but have at least two scripts to increase your odds.
In your letter, make sure to mention your best published works and for which entities. Why should this agent accept you as a client? What do you have to offer? What evidence do you have to validate you as a writer? What training have you had?
In your envelope, include a self-addressed and stamped envelope to return the material or include a note saying that they may pitch it to the recycling bin.
Final Notes on Soliciting Agents:
If you want to make a life career out of screenwriting, you need to be able to write more than one story or one episode of an existing show. If someone likes the one script you sent, the next question will be, “What else do you have?” Be prepared.
You and your material have great value and potential. Don’t be desperate when you are selecting an agent. If you are soliciting agents, you should be confident enough in your work to choose a good agent. Make sure you like the person and you are at ease when you talk to him or her. You should feel comfortable to ask questions and feel that the agent genuinely likes your work, otherwise, he or she won’t be able to sell it.
Always be polite, never demanding. Don’t jump on a yes or no because someone is pressuring you, say, “Thank you very much; I will think about it.”
Be realistic.
Test your material. Do people like it?
If no single person on the face of the earth has read any of your material, you are absolutely not ready to be soliciting an agent.
Feedback is an essential part of your development. Learning to accept criticism and incorporate feedback is crucial. A screenwriter is endlessly entwined in editing and revising.
Have people you trust to be honest with you and strangers through the Internet read your material and give you real feedback.
Are your scripts formatted correctly?
How are your grammar and spelling?
Do your stories float or sink?
Are you published anywhere?
Do any strangers like anything you have written?
You are going to have to prove to the agent in more ways than one that you are talented, dependable, and a creative writer.
Before you go wasting your time and the time of all the agents who you solicit, make sure you are ready. Learn everything you possibly can about the industry and how your script should look and function.
Full of information, I suggest you fine comb through the WGA website.
Never give up and never stop educating yourself.
Every rejection is a valuable lesson that brings you closer to your goal.
Dictionary for Filmmakers and Screenwriters
VOCABULARY AND TERMS FOR THE FILM INDUSTRY AND SCRIPTS
by Jaden
ACQUISITIONS = The department that seeks and purchases completed films and materials.
ACTION = The scene description area in the script where you describe what the audience will see on the screen; this appears under the Scene Heading. Describe the location, the clothes, the weather, and what the characters are doing physically in the environment. [DO NOT describe things that cannot be seen on screen, like "where he went to school last year." Such information has to be expressed in dialog; for example, "What are you doing back at school, didn't you graduate last year?" ]
ACTOR = An individual who plays a character in a script, performing action and dialog, recorded on film or digitally.
ADAPTATION = Rewriting someone else’s original work, either just changing it from novel form to screenplay, or altering it completely with a new angle.
AD LIB = There is no written dialog, the actor invents his own dialog.
AGENCY = A company of agents organizing transactions between entertainment entities and talent.
AGENT = Represents talent, solicits work, and legally has the right to negotiate terms of talent’s agreement.
ANALYSIS = 1 to 2 pages of comments about script’s strengths and weaknesses.
ASSISTANT DIRECTOR (AD) = Helps the director to prepare and shoot scenes during production. On big budget or complicated films, there may even be a 1stAD and a 2ndAD. (Note: A Director’s Assistant is something totally different, see definition.)
ASSOCIATE PRODUCER = Supports the producer, handles budget, schedule, and other production logistics. It might be the line producer, the production manager, or the first AD who receives this credit.
BACKGROUND = Actors without speaking lines from the script. AKA extras. Described in the script like this: “In a panic, PEOPLE flood the streets of Manhattan.”
(BEAT) = A dramatic pause. Placed between dialog, it means to wait a moment before saying the next line.
BRADS = Brass fasteners that bind the script at the top and bottom holes (only 2 of the 3), they are usually gold and look like thumbtacks.
BUDGET = Entire cost of making the film.
CASTING AGENT = Finds and auditions actors for the roles designated in the script.
CHARACTER NAME = The Character Name should be simple and the most commonly used name that other characters in the story use to address this person. For example, if a character’s real name is Jane Smith, but everyone calls her Jammy, her Character Name should be JAMMY and it is ok if people sometimes address her as Ms. Smith or Jane during dialog. The first time you introduce a Character Name to your script, put it in CAPS; it can look like this “JAMMY (aka MS. JANE SMITH)”. Afterwards, use normal grammar, “Jammy.” When the character is speaking, the Character Name is always centered on the page and in CAPS just above the dialog. If you want to have a mystery character and don’t want to reveal who it is until the end, you introduce it with your code name, like GHOST, and then at the end, write in the action area something like: “Ghost enters the room and we see a lock of hair that reveals it is actually Jammy.”
CINEMATOGRAPHER = The person controlling the motion picture camera who films the live action scene and discusses with the director and DP to get the desired image.
CONSIDER = “Consider” from script coverage that you submitted to a producer means that your script is probably great, but not flawless, and they are trying to figure out if they can use you as a writer or make your script into a profitable film.
COVERAGE = Document of script’s info, logline, rating, synopsis, and analysis; roughly 5 pages. Saves a producer or agent the 2 hours from reading a script.
CREATIVE DEPARTMENT = Also development. Seeks and acquires materials for film or television.
CU = Close-Up. In the camera frame would be something the size of a face or a hand. We would see on the movie screen something close-up, as if we were 1 foot away from it.
DAILIES = Film footage from the previous day’s shoot. Shown to catch problems early on and help with direction and continuity. Also used for early marketing.
DEVELOPMENT = A script in development has been bought, is being polished and prepared for filming.
DEVELOPMENT EXECUTIVE = Finds new material, acquires it, prepares and packages it.
DGA = Directors Guild of America
DIALOG = The words and conversations spoken by characters. Justified left, dialog is centered 3 inches from the left edge of the page and 2 inches from the right edge of the page.
DIRECTOR’S ASSISTANT = Handles administrative tasks for the director.
DIRECTOR’S CUT = Per the DGA, the director has the right to make the first cut of the movie the way they think it ought to be. The studio may change it thereafter before release to the public.
DISTRIBUTOR = The intermediary company between studios and exhibitors, the arm that puts films and merchandise out on the market, profitting by high sales.
DP = Director of Photography. Working with the director to get the overall desired look and feel of the script and movie, this person may or may not actually shoot film or be the cinematographer. For instance, a DP on an animation film may never look through a camera lens or touch film.
ECU = Extreme Close-Up. This would be where something very small is in camera frame only, such as a lady bug or a freckle.
EDITOR = Cuts scenes (by actual film or digitally on a computer) and places them together in the order he and the rest of the creative team thinks tells the story best. Director will have biggest say.
EDITOR’S CUT = Before anyone else has added their input, the editor has first go at editing the film.
EXHIBITOR = Movie theatres.
FEATURE FILM = Usually two-hour long movie.
FINANCIER = Provides money without any artistic input.
FLOATING = Script on the market, not yet purchased.
FONT = Standard and mandatory font for a script is COURIER size 12. By using this font and size, about one page of script equals one minute of movie time.
GREENLIGHT = A script that has been bought and is fully prepared to go into production and start filming. Now cast and crew may be assembled.
HIGH CONCEPT = Means the story is easily sellable and marketable with just a few words. Think: Titanic or Earthquake or Babe Ruth.
IDEA = An abstract story thought in the creator’s mind.
INDEPENDENT = Not working as a salaried employee or function of any major established studio or agency. Later, independent films, producers, directors, actors, writers may get picked up, signed, or paid by major companies after the film is a success. With more creative freedom and less hands in the pot, this allows ‘nobodies’ to become ‘somebodies’.
LINE PRODUCER = Mostly a logistical position, not creative; handles budget, scheduling, and implementation.
LOGLINE = 1 – 3 lines that sum up the story. Example: “Giant squirrels from Sirius attack Earth.”
MANAGER = Works closely with talent to create a roadmap for the overall career, advises what types of work to take or reject, and solicits work for the talent. Not allowed to negotiate the financial terms of the talent’s agreement.
MARGINS = This is the blank space on the paper that has no text. Standard and mandatory script margins are 1.5 inches from the left and 1 inch from the right. Dialog is 3 inches from the left and 2 inches from the right. Using this margin standard along with the Courier Font size 12 generally makes 1 page of script equal to 1 minute of movie time. Don’t fudge it! It is not to your or anyone’s benefit to add more margin or reduce the margins. The extra space on the left side is for binding.
NETWORKING = Making contacts in the industry for future work possibilities.
(OC) = Off Camera. It is a direction that means you hear the dialog, but do not see the person who is speaking in camera frame.
OPEN ASSIGNMENT = Writing / editing someone’s else script or idea.
OPTION = To option the rights to a script, someone pays a sum of money to hold the script off the market; the duration may be anywhere from 6 months to 10 years, the amount may be $1 to $100,000, depending on how well-known the writer is. $1,000 to $10,000 range is common. At the end of that time, if they are unable to make a movie, they might purchase another option on the script or let it go back on the market.
(OS) = Off Screen. You hear the person’s dialog, but they are neither on camera nor in the vicinity of the scene. They are somewhere further away.
OUTLINE = A document of brief lines describing major points of the story.
PACKAGING = To sell a story or get it closer to production, each time an important actor or director or other big name is attached to work on the project, it increases its chances of being made; this is packaging.
PAPER = Paper for scripts is white with 3-hole punch, 8.5 x 11 inches. Once a script goes into pre-production, various paper color designates various versions of the script. As a writer trying to sell a script, only use white.
PASS = If you receive a “PASS” on your script coverage that you submitted to a producer, it means that they feel they cannot make money from this script or the writer. It does not necessarily mean that they did not like your script, just that they don’t see it as profitable or a good fit to the company.
PITCH = Aaaaah the dreaded pitch! You have a few minutes to sell your 120 pages screenplay; what are you going to say about it? It’s basically a verbal logline, and if they like that, then you can move into the treatment phase with more details. You need to say something terse, potent and grabbing.
POST-PRODUCTION = This is the phase after development and production, moving into editing, adding sound, visual effects, and reshoots.
PRE-PRODUCTION = Before filming, figuring out the budget, the casting, film crew, catering, locations, set designers, style, required items, storyboards, acting rehearsals and more.
PRODUCER = In the old days, a producer was the guy who made it all happen, who oversaw the whole project, and brought together all the necessary creative and financial elements to turn a story into a film. Now, you will see producer credits for half the cast, the director, the writer, and the cat across the street. Why? For the big bucks on the back end per the existing studio legal contracts; everyone wants their piece of the pie. This is a big point of contention in today’s entertainment legal departments. Sometimes a producer has simply provided all the financing and had no creative input at all. When you see a producer credit today, what that person has actually done is a mystery.
PRODUCTION = The time during which filming is happening, cast and crew are present and involved.
PRODUCTION ASSISTANT (PA) = Does anything and everything to facilitate the film production process. Handle actors, block off traffic, inform make-up they’re wanted on set, anything.
PRODUCTION COMPANY = Studios and networks outsource their work to production companies who can handle all aspects of production, usually hiring a fully freelance staff per film. At this location, you may have casting, filming and editing happening, or it could just be an office who arranges for those things to happen elsewhere.
PRODUCTION DESIGNER = Orchestrates the actual film set look, adding fake flowers or fog or sepia toned buildings, as designated in the script or by the director.
PRODUCTION EXECUTIVE = From the development team, the person who makes things happen, and moves it along.
PRODUCTION MANAGER (PM) = Multi-tasker who organizes and coordinates scheduling, script breakdown, principal photography, locations, budget, actors, and other talent, working with the director and producer.
PROSE = Written straightforward in standard grammatical form, not screenplay format or poetry or any kind of specific structure or style.
PURCHASE AGREEMENT = A legal binding contract that includes various details: purchasing price of the creative material and future rights for film, TV, publications, merchandise, video, and more.
READERS = People paid to read your script and give coverage.
RECOMMEND = “Recommend” noted by a reader who did the script coverage for a script that was submitted to a producer means: This script is excellent! Highly suggest buying the script and/or hiring the writer.
REPRESENTATION = An agent, manager or lawyer who speaks on writer’s behalf in order to solicit work or to negotiate an agreement.
RIGHTS = The authority and ownership of a creative property; the person who has the rights decides the fate of the material, whether it can be bought or sold, and how that money will be distributed. When you write something, you have the rights. When you sell it to a Studio, depending on the purchase agreement, the Studio takes over the rights.
SAG = Screen Actors Guild
SAMPLE SCREENPLAY = This may be a script that received a “consider” rating. For example: The dialog was fantastic, but there was no story. They keep it on file and call this writer when they need a writer to punch up the dialog on another script that is strong on story, but weak on dialog.
SCENE DESCRIPTION = (See ACTION)
SCENE HEADING = Describes whether we are inside (INT. / interior) or outside (EXT. / exterior), what location, and if it is day or night. Keep this as simple as possible. This information is mostly for director, cinematographer, lighting crew, and locations. [Do not put any elaborate descriptions here such as time, city, rain,special effects, etc; save that for the ACTION area.]
Looks like: INT. MAMA’S HOUSE – DAY
SCREENPLAY = A story written in a specific format that allows it to be easily transferable into a motion picture, including setting description, action and dialog only, nothing that cannot be seen or heard on film. White paper. 3-hole punched. 2 brass fasteners at the top and bottom holes. Title page only, NO silly cover designs or fancy bindings or pictures. Courier font size 12. Margins in inches: 1.5 from left, 1 from right. Dialog margins: 3 from left, 2 from right. Page numbers: top right side, .5 down, 1 from right.
SCRIPT = Screenplay or teleplay.
SHOOTING SCHEDULE = Daily details of the production film schedule: times, dates, locations, cast on camera, and scenes being filmed.
SHORT LIST = Second and third choices for talent.
SLIP = A script that has been passed to someone in secrecy or unofficially.
SPEC SCREENPLAY = A screenplay on the market for sale or a film script submitted as a writing sample.
STORY EDITOR = Decides which scripts the Studio Exec ought to see.
STORYBOARD = Based on the script, it is an illustrated version of the movie, like a comic book, made during pre-production, revealing every single film shot angle, characters’ positioning, the director’s vision, and any other visual creative elements. This is used to facilitate the preparation and filming of the movie.
STUDIO = A company who produces films or an actual film set location.
STUDIO EXEC = The big cheese in a company who will decide the fate of your life.
SUBMISSION RELEASE = Nobody wants to get sued; almost everyone in the industry will request you sign a legally binding agreement that says you won’t sue if you want them to read your material. Unless it is your best friend, don’t send off your script without asking permission first or signing a release agreement. As original as we all think we are, there are probably 20 scripts already floating around with the same idea! It’s nobody’s fault, you don’t live in a vacuum of blank space.
SYNOPSIS = 1 to 2 pages, summary of story.
TALENT = Generally, this means the Actors, but it can also include Directors, Writers or any artistic participant.
TELEPLAY = A script written for television (not movie theaters).
TREATMENT = A detailed prose style summary of the story and characters. 1-30 pages.
UNSOLICITED MATERIALS = Materials sent without permission.
(VO) = Voice Over. This is a narrator who may or may not be on screen. It might be a person’s thoughts, or the voice from a person who wrote the letter which is in a character’s hands, or someone unrelated to the film at all, like the narrator for a documentary.
WGA = Writers Guild of America.
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