There are many job roles within the commissioning process, that go from being an Editor, Producer, Director, Script Writer, Agents, and Writers.
A Script Editor is involved in many ways, writers would usually look for a Script Editor to put themselves out there.
This occupation is for a mid senior level post which requires at least suitable experience and ability. If career has only just begun, you are likely to be recruited into a more junior position, such as editorial assistant, which may then lead on to becoming a commissioning editor, if still wanting to pursue this career path.
The typical work activities of a Commissioning editor is to conduct their own internet research, create surveys to find out demands, and attend conferences that are relevant.
The benefits of having an agent is that some companies may not read scripts that have not been submitted through an agent. However, some agents may not be interested in working with you if you haven’t had any paid writing experience before. A way for a beginner to get out there would be to get a production company interested in a script or proposal – then you can start worrying about finding an agent for yourself.
The circumstances of a producer or director wanting to hire a writer would be to create a screenplay from scratch depending on the concept, whether it’s a true story existing screenwork or literary work, such as a book, poem, play, comic book, or short story. Screenwriters involve in working and writing in teams and additional screenwriter may be asked to join to review aspects of the narrative or to improve something from the script. Screenwriters basically produce and provide a blueprint onto which the Producer, Director, Production Designer, Composer and Editor. A large portion of screen-work are by the Producer (not the Screenwriter), and sometimes even amazing screenplays do not get made. Producers expect screenplays to be submitted in standard Mastershot format, they are unlikely to read any submissions unless they are presented in this way. To catch a Producer’s and Agent’s eye, as a screenwriter you would have to write a number of original short and feature screenplays which are ‘on spec’ (self-financed). Screenwriters are also needed to prepare pitches to Producers of synopses and outlines, depending on the Producer before they are prepared to read their screenplay.
The BBC Writer’s room look for responsive and proactive writers. they say on their about page that “We know how hard it is to be a writer and we believe in finding ways to inspire and inform you, to keep you across changes, giving you access to commissioners and production departments but most importantly to the skills and experience of established writers.” – About, BBC Writer’s Room. It states that they are very open to anyone in the UK who is new to writing, but believe that they have a real talent and good ideas for both screen and radio. On the website, there is a section where help those who want to write, and who have an idea that is itching to be written. What you get here is a series of steps that help with writing processes with elements, questions and challenges that may be faced, it’s more of a ‘how to’ make a good script.
Cooperations like BBC writer’s room as they have “worked in partnership across the industry - with theaters, screen agencies, writer networks, universities/colleges and any other organisations that supports scriptwriters.” – Our Partnerships, Beyond the BBC.
They are known to have run many events, sessions and projects within the writer network. This means that they are well known with lots of creative organisations and are known to be successful, and so this way cooperations identify them as a good broadcaster with writers.
A writer might be involved in the pre-production planning as to inputting their ideas as to how they see the reality of the show to the producer/director.
The process of a script editor is firstly reading a screenplay until the end, imagining it as a film itself. At the end, they would have to write down at what point in the script they start to get bored or if they don’t empathise with a character. After the second time reading it, the script editor will start to analyse it. For example, they may ask the reason why they don’t feel the empathise with a character, perhaps because he/she hasn’t shown enough emotion or the actions are not clear. It will then lead on to talking about what the character is like, what they want in the story and how the writer wants the audience to have an impact on him or her, this way it can give a clear indication as to what the writer can correct and change.
A writer would normally spend up to five or six days working on a draft with the writer. They will then work with the writer for a day watching films that might help give tips on how to structure their scripts. Then they would spend at least half a day meeting, as well as conversations over the phone and emails whilst the writer is working. A script editor may want to comment on a rough draft before it is given back to the producer.
A page lockdown is referring to a shooting script - this a a special condition of a script where the page is final and there are no more edits or rewrites to be done to it, for example, once the script is “published” and handed out to the department heads and actors for the production, the pages are LOCKED and no changes should be made. The purpose of this is so that the script can be secure and there will be no conflicts or complications with wanting to make changes. It makes the scriptwriter sure of the final product they produce for the time-being, unless there are major changes to be made.
Changes can occur to shooting schedules, new scenes are added to the movie, for example, if there is a scene that is added between the original scene “4” and “5”, it is typically labeled as scene “4A” to avoid any confusion with the original version. If there is a scene that is removed from the film, it is not removed from the script but has the word “omitted” to ensure that people know it was removed and is not missing. Directors and cinematographers typically annotate the script to indicate how different scenes are going to be handled during filming. This gives the cast a better guideline and understanding of the shooting process, for example, a cinematographer would use the notation for “CU” as Close-up to give the actor and them the indication. The script writers job in this is to make those changes if needed.
Most scriptwriters use royalty payments. Royalty payments are the payment that writers receive from the use of their scripts or the sales of books and films. For example for each book that is sold, the writer will receive a percentage of the payment which they deserve, this is known as royalty. Royalty payments are split between the writer, agents, and the producers, etc. Payments ad salaries that writers receive vary.
When it comes to copyright, it is very important to them, especially to freelance writers, as it is potentially a protection for their future. It is a way for the work of a creator to stop other people from copying, or distributing their work.
