Writing for the Green Light

by Scott Kirkpatrick

  Bible (or Series Bible) —A massive document, similar to a business plan or proposal, used to present the complete breakdown of a scripted television program; they generally flesh out all details regarding character, location, theme, concept, and tone. Most include at least the first season’s full episode slate (with a detailed synopsis for each episode); many offer clear direction where the series will lead in future seasons. The bible is the filter that keeps all associated parties (i.e., showrunners, writers, and producers) on target.

  Budget —The cost of a film production; the budget can be heavily inflated (or deflated) depending on who’s asking (and who’s telling). Regarding payouts, screenwriters generally receive the equivalent of 5 percent of the total (actual, out-of-pocket expenses) of the entire production’s budget.

  Cannes —Generally refers to the Cannes Film Festival (held each May in the small port city of Cannes, France); the city also hosts two international TV markets: the Marché Internationale de Programmes des Television, translated simply into Market of International Programs of Television, but generally referred to as MIPTV (April) and the Marché Internationale de Programmes des Communications, translated simply into Market of International Programs of Communications, but generally referred to as MIPCOM (October). I would argue that 90% of those attending these “MIP” markets have never heard the formal names, they only use the acronyms to describe them.

  Cliché —The obvious, the dull, and the predictable. A cliché is the script, plot, or scene that offers nothing unique or interesting. There was a time when its idea or concept was groundbreaking, but it has become overused to the point where it has lost its spark and/or original meaning. A good rule of thumb is knowing that generally your first idea for a scene is also everyone else’s first idea (making it clichéd and predictable), therefore a good approach is to do the exact opposite of the clichéd idea to shake things up a bit and keep them interesting.

  Colored Pages —With each revision, a script (or sometimes just revised pages) is printed on different colored paper so that production teams can easily know if they have the latest version. The colors follow this order: White, blue, pink, yellow, green, gold, then back to white.

  Consider —The second most powerful word, before “recommend,” that a reader or assistant development team member can use to rank either your writing talents or your spec script. Even if your script is not recommended, your talents as a writer can be (see “Coverage”).

  Coverage —A simple two to three-page breakdown or synopsis of a submitted screenplay, which is drafted by a reader, specifically with the goal of summarizing not just the story, but also the worthiness of the submission (and of its writer) for the upper-level development executives. Both the script and writer are given one of three rankings: pass, consider, or recommend. The important thing for newbie writers to remember is that it’s very hard to sell a spec script, but that even if a script submission receives a “pass,” the writer can still be given a ranking of “consider” (which is sometimes more important when building a career).

  Credit —Refers to how a writer’s name is listed (if at all) during the credits of a film. The Writers Guild of America (WGA) has very specific rules as to how a writer’s name is treated with regards to being given credit for writing or cowriting the script (or if considered only responsible for the story), and so on. These rules also dictate situations where two writers collaborated together on a script (where their names are unified with an ampersand, as in “Written by Writer One & Writer Two”), or when a script is acquired by a production team and a new writer is assigned for a rewrite, but both the original and new writer deserve equal credit (where their names are unified, only with the word “and” to signify a separation of responsibilities, as in “Written by Writer One and Writer Two”). Even non-WGA signatory companies follow these general guidelines when assigning screenwriting credit.

  Development Hell —A joking expression used to describe the (sometimes endless) process of getting a spec script of interest from initial acquisition to green light. Sometimes these scripts are constantly revised during their development periods in order to satisfy different investors, other times the company keeps the script as is, but must take a long period of time in order to secure proper funding for the films eventual production. Some films never get out of development hell; others float through very easily.

  Direct to [blank] —A phrase used to describe an independent film or production specifically designed not to exhibit in theatres. Films or productions can be produced as “direct to video,” “direct to TV,” and now, “direct to VOD.” These are targeted, middle-zone productions, generally with limited budgets and heavy on genre appeal… . These are also excellent starting places as a newbie writer! Most “direct-to-[blank]” films are produced from gold-mine genre types.

  Driver —A high-level film or project (either completed or in development) that gives a seller or distributor leverage to lace additional titles (usually of lesser quality) into the package. Sometimes called a “locomotive.”

  Domestic —The word used to describe the territory (or geographic marketplace) of the United States of America and English-speaking Canada (also called “North America”). In the film industry, anything outside of this above definition would refer to the international marketplace (even geographically North American places like French-speaking Canada or Mexico). For more information, see also “International” and “Territory” below.

  Dubs —Verbalized translations of spoken dialogue taking place within a film for purposes of adapting a film for a foreign-speaking audience.

  Elements —See “Attachments” above.

  Episodic —The word used in contracts to classify a program as composed of multiple episodes in total duration, as opposed to a single one-off feature film. The exact running time of each episode differs on genre and platform (from ninety-minute episodes in a long-running episodic mini-series, forty-two-minute episodes for a dramatic series with ad breaks, down to five to ten-minute episodes for an online Web series). The total number of episodes will also depend on genre, platform, and longevity. (Compare to “Feature”).

  Extension —When an option agreement is extended by the person or company optioning the script—generally for an additional fee, most commonly because the project is packaged and very close to being green-lit but just needs more time. Extension periods vary, but six months would be an average.

  Feature —The word used in contracts to classify the length of a film or program as a one-off production that is movie length. The exact running time of a feature differs by genre (and depending on whom you ask), so the word ‘feature’ is often used to simply indicate movie length. (Compare to “Episodic”).

  First Draft —After general storylines and treatments are approved, a screenwriter will apply these scattered ideas into a rough draft, which is then cleaned up into a full-on first draft of the script, which stands as the first fully realized version of a screenplay encompassing all involved parties’ ideas and criticisms.

  Green Light —The coined phrase signifying the official moment when the party representing necessary financial resources agrees to produce (invest in) a project. When a project is green-lit can vary wildly—projects can be green-lit with or without a completed script, a locked cast, or even an attached production crew.

  Gross Points (or “Gross Royalties”) —A point is equal to 1 percent; “gross” refers to all monies (in total) earned before expenses or outside costs are incurred against that figure. Therefore, a single gross point is 1 percent of all monies earned, which is a far contrast from the commonly distributed “Net Point” (see below).

  High-Concept —An overly thrown-around phrase that essentially describes a film or TV concept that is extremely straightforward and easy to describe (does not mean big budget, but rather that within a few words of pitching your audience will have a very clear understanding of your project).

  Home Entertainment —A generic phrase used to describe the v
arious rights (or various methods) by which a customer can view a film or TV program in any conceivable personal manner (whether purchased or rented) outside of viewership in theatres, paid public exhibitions, or on commercial airplanes, hotels, or commercial cruise liners.

  Hook —The unique—and often simple—aspect of a story that makes it stand out from another. It’s the glue that transforms a dull idea into an extraordinary one, that gives it competitive edge to distributors and “sell-ability” to audiences.

  Independent —Refers to any company or film production that exists outside of the major studios. Can range from tiny micro-budget operations to major Hollywood entities (e.g., Lionsgate or Relativity).

  International —The word used to describe any country or region outside of the United States of America and English-speaking Canada when defining geographical rights definitions in film-industry contracts. Divisions between domestic and international markets are vital in the presales process, which has major influence on which scripts receive green lights. For more information, see also “Domestic” and “Territory.”

  Letter of Intent (LOI) —A formal means for one entity to express a (generally) legally binding interest in working with another party. It essentially functions as a “proof of commitment” in moving forward with a formal agreement if all the elements required to enforce a functional deal come together. Example: To presell a movie, a distributor might secure a name actor with a letter of intent; if the distributor moves forward with the production, that actor will be required to take on their agreed to role, however if the pieces don’t come together and no film is green-lit, the actor is not required to perform (and the distributor is not required to pay them).

  Locomotive —A high-level film or project (either completed or in development) that gives a seller or distributor leverage to lace additional titles (usually of lesser quality) into the package. Sometimes called a “Driver.”

  Logline —A short descriptive sentence (less than 100 words); it quickly summarizes a script’s (or story’s) concept, while clearly defining its genre type and overall hook.

  Manager —The objective of a manager is to shape the longer-term direction of a writer’s overall career. Unlike an agent—whose objective is on the more immediate, easy to close deals—a manager aids a writer in mapping out a course of action and helps build their portfolio to max out success. They are harder to obtain than an agent, but offer more time and guidance—recommendations via friends is the best approach to find one. Some work on a retainer basis, others work on commission. See also “Agent.”

  Net Points (or Net Royalties) —A point is equal to 1 percent; “net” refers to the monies left over after all other parties owed money (and after all expenses incurred) have been paid out or recouped—essentially all the leftover cash. Therefore, a single net point is 1 percent of all the leftover money, which is a fraction of a gross point.

  Non-Union —Refers to a production or a potential project that is being produced independent of any unions. For an actor, the project would be independent of SAG (meaning any SAG actors could not perform). For a writer, the project would be independent of the WGA (meaning any WGA member could not write). Crew-related unions, such as IATSE, do allow their members to work on both union and non-union productions—an IATSE member joining a production he or she knew to be non-union would be doing so on the understanding that his or her day rate might be less than on union productions and that standard working hours might be different.

  One-Sheet —A small sales sheet, generally an 8½” x 11” mini-poster, that is handed to clients to provide insight to the cast, genre, and budget level of a film. It would look almost like DVD cover art (front and back), only on a sheet of paper for easy filing and reference.

  Option (or Option Purchase) —An option is when all rights to a script are leased by a producer, generally for an upfront fee and for a period between six to eighteen months. During this option period, the producer will pitch the film to investors or attempt to package the script in order to get a green light from a production company. If the script is green-lit and the film is produced, the writer will generally receive a production bonus—pre-negotiated in the initial option agreement. If the script is not green-lit, upon expiration of the option period, all rights will revert back to the writer.

  Output Deal —An agreement between two parties where one entity agrees to take on all (or a confirmed minimum number) of produced content (finished films, scripts, etc.) for a pre-negotiated price. Example: I’m a producer and I’ve just secured an output deal with a client in Japan… . Because I have proof that this Japanese client will buy any film I produce for a fixed (pre-negotiated) price, I can use this as collateral when raising funds with investors (so that I can hire writers and produce the new films).

  Packaging —The process of making a script a more attractive property by “attaching” actors, directors, or other elements who contractually commit themselves to work on the project if it were to be funded or green-lit.

  Pass —The ranking that readers or creative executives give to a script (or writer) they feel does not meet minimum criteria worthy of “consider.”

  Pitch —The presentation of your script’s story; can be verbalized or written (as in a pitch email), but it’s generally a short, concise explanation identifying genre type and concept.

  Pilot —A fully produced sample episode of a proposed TV series, generally made as a one-off example to present to studio executives or international clients to gauge interest. If the series is green-lit, the pilot is generally broadcast as the first episode. See also “Backdoor Pilot.”

  Polish —At first glance, this would be a simple clean-up job requested of a screenwriter, but a polish can at times walk a fine line to that of a full-on rewrite! The idea of a polish is for the initial author of the script (or a commissioned third party) to tighten, fine tune, and tweak key sequences to really make the script flow… . But sometimes the instructions they’re given are lengthier than the screenplay itself; as a novice writer, be mentally prepared to tackle a rewrite if offered a “simple polish.”

  Production Bonus —A predetermined amount of money guaranteed to the screenwriter if their script is green-lit and production commences. This amount is calculated in advance within the writer’s initial option agreement or contract.

  Purchase (or a Preemptive Purchase) —When a producer or production company purchases all rights to a script, in advance of packaging or financing. Though rarely done, the purchase is generally a one-time lump sum payment, and the writer revokes all rights to the script into perpetuity. Studios and large media companies sometimes employ this technique to weed out potential competition.

  Readers —The individuals hired to actually read all those unsolicited spec script submissions so that the higher-ups in the company don’t have to. Their real objective is to summarize each script into a two to three page synopsis called “coverage,” in which they’ll also list out their general impressions (or criticisms) of the submission, then assign both the script and its writer with a ranking of “pass,” “consider,” or “recommend.” Readers come from all kinds of backgrounds, some hold masters degrees and are looking to transition their professional careers into creative development, others are still in school and are looking for an “easy” internship that gives them class credit instead of money. As a screenwriter, you never know what type of reader will be assigned your script.

  Recommend —The most powerful ranking a reader can bestow upon a spec script (or its writer). It essentially places a submission into a production company’s “fast lane” of review. Very few writers (and even fewer scripts) ever receive this coveted ranking. For more details, check out “Coverage.”

  Rewrites —Usually paid, but sometimes not, rewrites are formal changes or revisions to a screenplay requested by a development executive or producer of the screenwriter. Generally, these are labor intensive (to the point of starting from scratch) otherwise they would be considered “poli
shes.” On some occasions the original writer is commissioned for the job of rewrites, other times the job can be handed to a third-party writer.

  Schlock —Extremely low-quality product, generally ultra-low budget films with very poor image and sound quality (sometimes purposefully, other times due to a filmmaker’s lack of resources).

  Screener —A non-commercial copy of a completed (or near finished) film, intended only for the purposes of a professional to evaluate. Screeners can be handed out as physical DVDs (with a “burn-in” on screen to prevent piracy) or as online screening links (with password protection).

  Screening(s) —Scheduled premieres or private showings of a finished (or near finished) film; can be used to (a) present a completed film for potential distributor representation, (b) for a distributor to present a film to international clients, (c) to seek out additional funds, or (d) any other conceivable business motivation.

  Services (Writing Services) —The process of writing is considered a “service,” much like that of any independent contractor. In agreements dealing with the acquisition or option of a completed script, or during the commission of a writer to create a script-made-to-order, the word “services” is associated with the writer’s job responsibilities.

  Showrunner —The true king of the television world, a showrunner outranks even the director! Part executive producer, story doctor, and visionary, the showrunner is a jack-of-all trades that is generally waist-deep in a series’ writing process, its scheduling, and its overall conceptual flow. They represent the single voice that guarantees the studio or production company financially responsible for the program gets exactly what they’re expecting.

  Sizzle Reel —A condensed version of a feature-length film, specifically used to entice a buyer or consumer to transact upon the film (either for pre-sale purposes at the development level or for pre-sale purposes at the consumer level). A trailer or ‘preview’ is a sales tool, where as a Sizzle Reel readily gives away themes, plots, reveals, etc.