Spec Script —A screenplay—either for feature-length content or episodic content—which is voluntarily written without any upfront payment, client request, or contractual obligation. A writer conceives of an original idea and writes a script from scratch with the hope of selling it later, upon completion. (A writer may also voluntarily acquire the rights to a story or book and write an adapted screenplay on spec based upon that material.)
Step Deal —A layered screenwriting agreement in which the hiring entity (producer or production company) either (1) acquires a writer’s script with the intention of keeping the writer on board to furnish new drafts, or (2) commissions the writer’s talents with the express purpose of shaping and developing a project together. The overall agreement is for a pre-negotiated amount of money, but the pay-outs of that lump sum are divided by the writer’s completion of each step in the deal. The total number of steps equals the number of permissible drafts or materials to be commissioned:
One Step Deal —The writer is hired to produce a workable treatment or initial first draft.
Two Step Deal —The writer is hired to produce a workable first draft and will stay on board to rework the script into a workable second draft.
Three Step Deal —The same process as above, only additional drafts or materials are tacked on. There is no limit to the number of steps. And once each step is accomplished, the writer receives a portion of their overall payment … On that note, the writer’s duties can also be terminated at any point in the process. (For more explanation, see “Appendix II: The Non-Union Writer-for-Hire Agreement.”)
Subtitles —Written text detailing dialogue and descriptive text indicating audio sounds (crucial to the storyline), or translations of foreign written visual text applied on screen as a burn-in, running parrellel with the dialogue, sounds, and actions taking place within the film. Some international territories utilize Subtitles rather than Dubs (China’s Mandarin is written the same throughout the country, however the spoken dialect varies greatly from one region to another; the Middle East is made of over twenty countries, all use the same written Arabic, but each has a radically different verbal use of the language).
Territory —“Territory” is a distribution term, used to describe a country (or often a group of countries) that are commonly accepted to represent a geographical region where the rights to a film can be licensed. On one hand, the individual nations of Poland or Japan represent a territory, but so does the Middle East, which is made up of over twenty individual countries. For more information, see also “Domestic” and “International.”
Treatment —A double-spaced outline of a story concept (ranging from a few pages to dozens, lacking any dialogue) that is used by a writer to present his/her ideas to a production team to ensure it meets their needs prior to attempting a first draft of a screenplay.
Turn-Around —The process after a script is purchased, where the writer attempts to re-acquire (purchase back) the rights previously signed away.
WGA —Acronym for the Writers Guild of America, a labor union that sets industry ground rules on writer credits, fees, and royalties; members can use the WGA for arbitration. Non-members can submit treatments and/or drafts of writings to be “registered” (for a fee). For detailed information (including boilerplates of many writer-related contracts and forms), check out their website: www.wga.org.
WGAe —Writers Guild of America East (offices located in New York).
WGAw —Writers Guild of America West (offices located in Los Angeles).
WGA Signatory —A production company, or other similar entity, that has signed an agreement with the Writers Guild of America (WGA) and is therefore required to hire only writers who are current Guild members. Under such an agreement, working with or commissioning works from any non- Guild member would be a breach of contract worthy of a stiff fine.
Index
acquisitions agents 8, 25, 98
acquisitions assistants 106
acquisitions executives 6, 17, 91, 106
acquisitions process 6–8
acting classes 101
action films: budget issues 47; guidelines for 44–7; introduction to 41–2; real-world examples 47; storylines related to 42–3; unbalancing element of 43–4
adventure films: budget issues 48; guidelines for 50–1; introduction to 48; producers and distributors and 48; real-world examples 52; storylines related to 48–50
agents: commission and fees and 120–1; defined 175; introduction to 115; myths about signing with 115–19; networking and 107; producers and distributors and 117–18; screenwriters and 115–21; television writing and 116; when to hire 119
agreements: option 158–73; types of 126–8; writer-for-hire 145–57
Alien (1979) 37, 38, 61
alternative television see non-scripted tv
Amazing Race, The (tv show) 77
American Film Market (AFM) 103, 175
American Pavilion program 103
analysis paralysis syndrome 12
animation writing 82
Arachnoquake (2012) 41
arbitration 154, 171, 173, 175, 183
attachments, defined 175
Bachelor, The (tv show) 77
backdoor pilot 92–3, 175, 181
backstory 59, 175–6
bad dialogue 63
Band of Brothers (2001) 71, 84
beat 62, 65, 176
beat sheet 98, 176
bible (business plan) 82, 93, 176
Big Bang Theory, The (tv show) 79
Black Dog (1998) 43
Blob, The (1958) 41
Blood of Redemption (2013) 47
Border Run (2012) 47
Bork, Erik 71, 84, 90
Breaking Bad (tv show) 80, 81
Bring It On (2000) 62
budgets: action films 47; adventure films 48; announced and actual 18–19; defined 176; for indie titles 133
call-out clauses 134
Cannes Film Festival 11, 103, 104, 176
Christmas Colt, The (2013) 31
cliché 61, 63, 66, 176–7
colored pages, defined 177
comedies 24–7, 78
commission and fees 120–1
commissioned script 125, 129
consider ranking 56, 58, 61, 177
contract negotiations 11, 115, 117–18
coverage, defined 177
Creative Mind Group 103–4
creature features: description of 37; guidelines for 38–41; real-world examples 41; subtext and 37–8
credits of a film, defined 177
crime stoppers, storylines related to 49–50
deal structures 126, 128
Delta Force 2: The Colombian Connection (1990) 42
descriptive blocks 66
development hell, defined 177
dialogue blocks 63, 67, 141
digital realm 132–4
directors of development, making first contact with 106–7
“Direct-to” entertainment 6, 13, 19, 177–8
distribution executives see producers and distributors
District 9 (2009) 37
documents see forms and documents
“dog films” 28, 31
domestic territory, defined 178
don’t take my baby thriller 32
Double Jeopardy (1999) 32
draft date 141, 142
Dragon Wasps (2012) 41
drama: format and structure of 82; as a genre 24; real-world examples 34; spec script for 78
driver, defined 178
dubs, defined 178, 183
DVD/VOD distribution 16, 27, 29, 31
elements, defined 175
email communication, making first contact with 108
entry points: description of 86; gag writing 86–8; office assistant 89–91; showrunner hand-off and 93; staff writing assistant 88–9
episodic program 178, 182
Escape from New York (1981) 43, 45
European Film Market 104
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sp; everyday hero, storylines related to 43
Expendables 2 , The (2012) 42
extension, defined 178
extra, working as an 104–5
face-to-face communication 108–9
family Christmas dog adventure: demand for 28; guidelines for 29–31; producers and distributors and 29; real-world examples 31
family-safe tween romance: description of 34; guidelines for 35–7; producers and distributors and 34–5; real-world examples 37
f-bombs 40, 47
feature, defined 178
Ferris Bueller’s Day Off (1986) 62
filler movie 7
film commissions, volunteering for 104
film making see movie production and distribution
film markets, volunteering for 102–4
films, drafting posters for 17
financing issues: green-light project 13; independent film makers and 12–14; presales and 17–19
finished movie, pitching of 15
first draft 126, 154, 178
Forced Vengeance (1982) 42
forms and documents: introduction to 139; script coverage 140–4
Friends (tv show) 79, 81
From the Earth to the Moon (1998) 71, 90
Gabe the Cupid Dog (2012) 31
gag writing 86–8
genre: choosing the right 23–4; comedy 24–6; drama 24; the good, the bad, and the ugly 24–7; scripts with mixed 60; see also gold-mine genre types
gold-mine demographics 79–81
gold-mine genre types: action film 41–7; adventure film 48–52; backdoor pilot and 92–3; continuing writing 91–2; creature feature 37–41; family Christmas dog adventure 28–31; as high-concept films 52–3; as safest go-to genres 134; tween romance 34–7; universal appeal for 53–4; woman-in-peril thriller 31–4
green-light project: defined 178; before final script 14; financing of 13
Grey, The (2011) 39
Grey’s Anatomy (tv show) 81
gross points, defined 179
guaranteed placement concept: output deals and 10–11; presales and 11–12
hedging system: Hollywood system and 9–10; independent film makers and 13
high-concept films 52–3, 179
Hollywood pitch fests 101–2
Hollywood schmooze game see networking
Hollywood system: acquisitions process and 6–8; analysis paralysis syndrome and 12; biggest secret of 14–15; budgets and 18–19; catch-22 of 20–1; guaranteed placement concept and 10–12; hedge effect and 9–10; Hollywood hierarchy and 6; independent film makers and 12–14; pitching finished movie in 15; presales and 15–18; spec scripts and 8–9; writers and 21–2
Home Alone (1991) 50
home entertainment market 13, 41, 48, 133, 179
hook, defined 179
horror scripts 52
hostage-taking, storylines related to 42–3
House of Cards (tv show) 81
How I Met Your Mother (tv show) 77, 80, 86
How Not To Write A Screenplay: 101 Common Mistakes Most Screenwriters Make (Flinn) 66
Hulu 14, 15, 34, 76
idiot dialogue 63–4, 101
improv groups 100–1
Independent Film & Television Alliance (IFTA) 103
Independent Hollywood/independents: acquisitions process and 6–8; defined 179; digital realm and 133–4; financing issues 12–14; introduction to 6; see also producers and distributors
“insider info” approach 3
international market, defined 179
intern-level readers see readers
Invasion U.S.A. (1985) 42
Invictus (2009) 54
It Came From Outer Space (1953) 41
Jaws (1975) 37
Jinxed (2013) 37
joke writers 86–8
Junior High Spy (2011) 52
kidnapping, storylines related to 42–3
kids programming 81
Law and Order: SVU (tv show) 81
letter of intent (LOI) 127, 179
line producers, role of 68–70
literary purchase 127
locomotive project, defined 179
logline, defined 179
managers: defined 180; screenwriters and 120
marketing trends, innovative 133–4
message boards, finding opportunities through 123–4
middle-aged Americans demographics 80–1
Monster Mutt (2011) 52
movie production and distribution: budget issues 18–19; hedge effect and 9–10
Nelson, Donie 71–2, 99
Netflix 6–7, 14, 25–6, 65
net points, defined 180
networking: delivering fresh content and 98; having target portfolio for 98–100; honing skills for 100–2; importance of image during 111–12; introduction to 94–5; meeting needs of the industry and 97–8; meeting right people for 112; myth of going to the top for 105–6; navigating reception’s desk for 108; preparing for 96–100; principles for 95–6; self-confidence issues 100; soft pitches for 96–7; timing the marketplace for 109; voluntary 102–5
newbie writers: agents and 116, 119; digital realm and 134; non-scripted tv and 86; spec scripts and 77; see also screenwriter/screenwriting
Nielsen ratings 79
Nightmare Nanny, The (2013) 34
non-scripted tv: description of 76–7; entry points for 86–92
non-union option agreements: defined 125, 180; introduction to 158–9; section-by-section description of 160–73; story theft and 130
non-union projects 129, 180
non-union writer-for-hire agreement: agents and 119; certificate of authorship 156; deal structures and 128; introduction to 139, 145; net profits definitions 157; section-by-section description of 145–50; terms and conditions 151–5
Notes on a Scandal (2006) 32
Office, The (tv show) 79
office assistant position 89–91
one-sheet, defined 180
one step deal, defined 183
option agreements see non-union option agreements
“other movies” 6, 7, 8
Outbreak (1995) 37, 38, 39
output deals 10, 180
packaging, defined 180
parallel lines 68
pass ranking 56, 58, 181
personal assistant, Hollywood decision makers and 89–91
PG-13 scripts 40
pilot episodes 78, 80, 82–5, 92
pitch meeting: asking for 109–10; following up after 111; as an informal meeting 110–11; see also networking
point system 129
polish job 63, 90, 148, 181
Pop Star (2013) 37
preemptive purchase, defined 181
presales: financing issues and 17–19; guaranteed placement concept and 11–12; reverse engineering and 15–18
producers and distributors: adventure films and 48; agents and 117–18; family Christmas dog adventure and 28–9; making first contact with 106–8; presales and 11–12; script coverage form and 143–4; tween romance and 34–5; woman-in-peril thriller and 31
production bonus, defined 181
Puncture Wounds (2014) 47
purchase agreement 158–73, 181
query letter 108–9
Rambo (2008) 44, 46
readers: defined 181; making their job easier 58; script coverage form and 140–4; scripts reading and ranking by 56–7
reality TV 76, 89
reboots and remakes 6, 10, 12, 149–50
recommend ranking 56, 58, 181
reverse engineering, presales and 15–18
rewrites, defined 181–2
romantic comedies 25
R-rated scripts and films 40, 47
sales teams, making first contact with 107
Sam Steele and the Junior Detective Agency (2009) 52
Save the Cat: The Last Screenwriting Book You’ll Ever Need (Snyder) 63, 65
schlock, defined 182
Scoot & Kassie’s Christmas Adventure (2013)
31
screener, defined 182
screening(s), defined 182
Screenplay: The Foundations of Screenwriting (Field) 63
screenwriter/screenwriting: agents and 115–21; agreements for 126–8; being branded as a 99; catch-22 of Hollywood and 20–1; commission and fees and 120–1; contract negotiations and 11, 115; demand for 135; entrepreneurial aspect of 121–2; evaluating strengths and weaknesses of 56; getting paid for 124–6, 128; getting started for 135–7; hardest part about 55; having L.A. experience for 131; hedge effect and 9–10; introduction to 1–4; inventing your own opportunities for 122–3; managers and 120; message board 123–4; movie budget issues and 19; non-union productions and 129; persistence for 136–7; script coverage form for 140–4; self-motivation for 137–8; story theft and 130–1; success of being a 5; see also networking; spec scripts
script consultants 70–1
script coverage form: introduction to 140–1; section-by-section description of 141–4
Secret World of Alex Mack, The (1994–1998) 36
self-motivation 137–8
series bible 82, 93, 176
series idea, developing your own 78–9
Sexting in Suburbia (2012) 34
Sharknado (2013) 41
Shooter (2007) 44, 45
showrunner, defined 182
sitcoms: comic writers for 78; format and structure of 82; storylines related to 79
6 Bullets (2012) 47
sizzle reel, defined 182
slap-stick humor 26
Sleeping with the Enemy (1991) 32
Snakes on a Plane (2006) 61
spec scripts: for action films 41–7; for adventure films 48–52; blessing and curse of writing 83; character names’ issues 59; conclusion about 73–4; consistent point of view 62; convincing producers by 22; for creature features 37–41; defined 182; for family Christmas dog adventure 28–31; finalizing 66–8; getting feedback for 70–2; having a gut instinct about 72–3; having fun with 66; Hollywood system and 8–9; with idiot dialogue 63–4; keeping facts straight 59–60; length of 58–9; line producers and 68–70; with mixed genres 60; with no hook 61–2; parallel lining 68; with poor structure 62–3; purpose of 8, 9; quick turnaround for 20; reading and ranking of 56–7; risk of too many ideas for 81–2; sample 77–83; scenes with dilemmas and decisions and 67; screening festivals and 113; things readers hate about 58–65; to-the-point writing style for 60–1; tween romance 34–7; with typos and errors 64–5; for woman-in-peril thriller 31–4; writing clear-cut 57
Writing for the Green Light Page 28
