Roles and Practices of Script Development
Lucie Jayne Betts (30165697), Wirral Met Creative Media HND, Level 5
Updated December 2022
In the complex process of film or television production, the script, or screenplay, is often the foundation upon which the project is built. It is a “written text that provides the basis for a film production. Screenplays usually include not only the dialogue spoken by the characters but also a shot-by-shot outline of the film’s action. Screenplays may be adapted from novels or stage plays or developed from original ideas suggested by the screenwriters or their collaborators. They generally have multiple revisions, and screenwriters are called on to incorporate suggestions from directors, producers, and others involved in the filmmaking process. Early drafts often include only brief suggestions for planned shots, but by the date of production a screenplay may evolve into a detailed shooting script, in which action and gestures are explicitly stated.” - (screenplay | filmmaking, 2021)
Screenplays can be the brainchild of an independent screenwriter, working alone on the project, or a collaborative experience that involves a range of other key filmmaking personnel, working together to bring the concept of the potential film to a stage where it can realistically go into production. An investigation of the roles involved in the script development process for film and television is essential to understand how a screenplay goes from being a piece of creative written work to a piece of compelling visual media. This blog will explain the script development process and the roles involved within each stage of development, discuss the relationship between writers and the different types of commissioning agencies, looking into national, commercial and independent film/television companies and evaluate the legal and financial aspects of the commissioning process.
Writing the script
The Role of the Screenwriter
No matter the format, writing a script is one of the key job roles in visual media production. For without a script, there cannot be a movie or television show. It is the job of the screenwriter to either create an entirely new production concept and script from scratch or adapt an existing story into a script that can be portrayed in a visual form of media. The scriptwriter will build the narrative of the production, developing character and plot, using a variety of established writing techniques, in a way that will enable the audience to connect emotionally with the story.
Scriptwriters often work as freelance contractors, either writing their own scripts which they will either attempt to sell to a film studio/filmmaker, or even produce themselves, with many screenwriters in the industry often working to specification for a larger production company. Scripts can be produced by individuals, or as part of a writing team on bigger productions as part of a “writing room,” where they will collaborate with other scriptwriters to produce the screenplays required. No matter if they are operating independently, or part of a team, scriptwriters will have to work closely with other key members of a production to ensure that the script fits the creative vision of the creative lead (the producer or director) and will edit and rewrite the script in response to evaluative feedback, such as table reads and test screenings, until it best fits the production brief that they are given.
Scriptwriters will also often be responsible for pitching their screenplay or proposal to a production company for it to be made into a production. To accomplish this, a scriptwriter should have good knowledge on how a film is produced to ensure the best chances for their script to be greenlit and translated onto the screen.
(Scriptwriter, Job Description, Salary & Benefits, 2021)
Scriptwriting Teams
Whilst the majority of script are initially written by an individual, it is common in film and television for a team of writers to be working on a script. The input from a variety of creative writers can not only speed up the scriptwriting process, but improve the script and make it more diverse, opening up the narrative to greater possibilities. Some of Hollywood’s greatest movies have been written by more than one person, such as “Citizen Kane” (1941) which was a collaboration between Orson Welles and Herman J. Mankiewicz, whilst notable writing pairings - such as Matt Damon and Ben Affleck have teamed together to pen memorable box office hits, such as “Good Will Hunting” (1997)
Most major television productions are written by a team of dedicated scriptwriters due to the fast rate and scope of the production. Serial dramas require scripts to be produced quickly, often dealing with more than a handful of narrative storylines at the same time. These teams of writers will meet up in a “writer’s room” to share and then further collaborate on what they have written, in order to get the script ready for production as smoothly as possible, allowing the diversity of having multiple creative minds to assess and improve the script if needed.
- (Hellerman, 2019)
Potential Salary for Scriptwriters
Freelance contracting is the most prevalent way that a scriptwriter will be paid for their work. When working as an independent contractor, a screenwriter will be likely offered a contract with a producer, studio or television network for their script. The contract for a freelance scriptwriter should take into account the following things to ensure the writer is fairly represented and compensated –
· Against: This denotes the overall value of a finished, unproduced script against a produced script. In other words, the ‘against' is the fee if the project is green-lit.
· Option: This is the contractual agreement between the screenwriter and producer. It includes the payment to secure ownership and the rights to a screenplay. Generally , option prices rarely exceed 10% of the purchase price.
· Guarantee or front-end: A guarantee that money goes to a screenwriter upfront for their work. This does not take into account the overall success or failure of a project.
· Step deal: A step deal is an upfront fee that is often broken into multiple payments and milestones until a final draft is complete. For example, a three-step deal might incorporate payment after a first draft, a rewrite and a final draft.
· Back-end: The back-end covers financing for the production and release, including things like payments for during shooting.
· Bonuses: On top of a back-end fee, screenwriters are often eligible for bonuses based on their performance. Metrics for bonuses might include box office sales and prospects of further work.
(Indeed Editorial Team, 2021)
The Writer’s Guild of Great Britain is a trade union who represent all forms of professional writer and PACT, a UK based screen sector trade body, regulate the expected pay rates for screenwriters in the United Kingdom.
The Writer’s Guild PACT Rate Card dictates a minimum salary payment for the following in UK Feature Film Production. (These figures include a treatment, first and second draft of a script.) -
• UK Feature Film. Budget over £2 million, Full Script – £42,120
• UK Feature Film. Budget £750,000 to £2 million, Full Script – £25,650
• UK Feature Film. Budget under £750,000, Full Script - £18,900
(Rates & agreements - Writers' Guild of Great Britain, 2021)
And for Television, as of 2016 –
• A one-hour slot-length drama - £13,320
• The rate for series and serials - £10,570
(Rates & agreements - Writers' Guild of Great Britain, 2016)
Residuals and Repeat Fees
Screenwriters are often also paid when a TV show or film that they have written the script for is replayed on television, or the film is reused in any way. If they have worked on a script for a film that has a budget exceeding £2 million, they could receive a minimum guaranteed total payment of £31,200. (£19,000 for a film with a budget between £750,000 and £2 million.)
The Writers’ Guild of Great Britain has stated that writers should still be fairly compensated for work if it is used in conjunction with “new” forms of media that are growing more important with the evolution on the internet and video-on-demand streaming services. As stated in their latest guidance –
“There are two common scenarios when it comes to the internet and your film script: one concerns a film that has a cinema release and is then later made available via the internet; the second is a film that is made specifically for launch and distribution via the internet.
Films with a cinema release.
Royalties for internet or video-on-demand (VOD) for distribution for a film with a cinema or DVD release should be covered in a writer’s contract. VOD rights are almost always assigned to the producer, along with DVD and TV rights. Even if the film is made available for free the internet company will be required to pay a fee for the rights. (At the time of writing YouTube has agreed terms with a major US studio to show full-length feature films from the studio’s back catalogue. The movies will be free to watch with advertisements running alongside.) All these potential revenues could or should be included in any profit participation.
Original commissioning for the internet is more problematic. Common problems include: low fees; reluctance to agree that any rights will be reserved to the writer; buy-outs without a share of future income from exploitation rights. There is also the issue of trying to negotiate a price for the possible future transfer of material for TV broadcast after its successful launch on the internet.
In addition to a script, writers may well be contracted to write extra material aimed at websites, download add-ons and mobile devices. The writer should get a fee for this work. Film clips, trailers, interviews and competitions are often placed with mobile network providers in order to raise awareness and interest in a feature film. This activity is usually treated as promotional and isn’t revenue generating in itself. However where original content is specifically written and produced for distribution via the mobile phone network as branded programming (mobisodes) then the writer is obviously entitled to negotiate a fee and royalties. Ensure that you address all potential future revenue streams in your contract.”
(Writers Guild of Great Britian, 2015)
The BBC
The BBC came under fire in 2015 by the general secretary of the Writers’ Guild of Great Britain union for failing to pay the writers of potential scripts for major BBC productions such as Eastenders and Holby City a rate that was fair, claiming that writers were being offered “as little as the equivalent of £2 an hour” in “shadow schemes” that offered writers £1000 for scripts that required up to three drafts before they would be considered for being commissioned – far below the current national minimum wage. Bernie Corbett said of the issue, in an article written by the Guardian newspaper, “As a public corporation the BBC has social responsibilities. Paying writers below any recognised acceptable, or indeed legal, minimums is a breach of those responsibilities.” - (Sweeney, 2015)
As of 2021, the WGGB came to agreeable terms with the BBC, gaining all writers a rise on the minimum rates for screenplays, effective from December 2020. The new rate card details that writers for the BBC can earn a minimum of –
The following rates therefore apply to the Television Script Agreement:
Per min. Per 60’
Teleplays £209 £12,540
Series/Serials £192 £11,520
Dramatisations £139 £8,340
Adaptations £86 £5,160
Educational Drama £126 £7,560
(Writers Guild Great Britian, 2020)
ITV
By comparison, ITV, another major broadcaster in the UK’s rates are as follows –
Original teleplay: £13,283 per hour.
Series and serials: £10,395 per hour.
Long-running series: £3,465 per hour.
A full breakdown of their rates can be found in their WGGB rate card.
(Writers' Guild of Great Britian, 2021)
Career Pathways
Whilst an academic background in English, Creative Writing and Media are always advantageous to becoming a scriptwriter, many professional writers come from a wide variety of backgrounds that do not involve academia. Still, a high standard of English language and creative writing skills are essential key attributes for the role, as are people skills, as well as having life experience and empathy to be able to write in a way that a modern visual media audience can relate to.
Many scriptwriters train through following a trained professional working in the industry, such as a mentorship programme with some going forward to produce and direct their own productions. Major production companies, such as the BBC have online courses that budding creatives can sign up to.
The BBC have launched their BBC Maestro subscription-based streaming platform, which was “created to educate and inspire people to explore their creativity. Through pre-recorded lessons and detailed course notes, anyone can learn a wide range of disciplines and follow in the footsteps of experts respected all over the world.” The range of their online courses include “Writing Drama for Television” course of lessons hosted by the award-winning creator of hit BBC television shows “Bodyguard” and “Line of Duty” Jed Mercurio and an online course in “Filmmaking" with world-class filmmaker Edgar Wright.
– bbcmaestro.com
Getting a Script Commissioned in the UK
There are several ways that a screenwriter can potentially get their scripts into the hands of a studio, production company or filmmaker who can develop them, but it is a process that can take time, perseverance and a good knowledge of the best place to send a completed script. It is rare for a major film or television studio to buy an original script from an unknown writer, but there are channels that a budding writer can get their work looked out, with the potential of it being developed.
Of course, the first step of getting a script commissioned is writing a script that will attract the potential buyer. Professional scriptwriters spend years honing their craft and are able to deliver high quality scripts under the pressure of a tight deadline. A perfectly written script is just the start of the process. A writer needs to also know how to market it and more importantly how to prepare it to be marketed.
Most commissioning bodies will not accept unsolicited scripts without a script spec which will let them know, at a glance, if the screenplay is something that they would be interesting in producing. A compelling script spec should contain essential details about the scripted production, such as a logline, synopsis and a query letter that is guaranteed to grab the attention of the script reader who will initially receive it.
Once a script is ready to be presented to potential buyers, it is a good idea to do some research, examine the market and form a list of the right people for the pitch.
Sites such as IMDBPro – The professional account for the Internet Movie Database – can aid a new screenwriter to search for the production companies that best suit the genre or subject matter of the script. By building a list of appropriate execs who are open to query letters or submissions, as well as distributors or agents, a writer will have a better chance of getting their script professionally looked at.
(Miyamoto, 2020)
The BBC
“The BBC commissions world class content with a distinctly British perspective and we want to work with the best producers and creatives to tell stories which excite, educate and entertain. We are committed to supporting the UK creative sector – actively backing a broad range of producers, offering breaks for brilliant new talent, building partnerships, and baking diversity into everything that we do.”
- Charlotte Moore, BBC Chief Content Officer
The BBC operates what they like to call a “rolling, genre-based commissioning process,” particularly within their television sector. Ideas for programmes can be pitched to the relevant genre department through their online proposal system “BBC Pitch” which they will use to invite eligible companies or people who have already been commissioned by the BBC or another major UK broadcaster.
For new scriptwriters or emerging talent, the BBC’s Writer’s Room development platform has many resources and opportunities. During specified submission windows the BBC hold an “Open Call” for writers to submit a script to them, which will then be read and accessed by a script reader from the Writersroom team, with the potential to work with the BBC to further develop the script into a television production, or further nurture the talent of a promising screenwriter who has shown promise. - (How to submit a script to us, 2021)
Their “Drama Room” is a 1-year development scheme which will work with writers who have been selected through the Open Call platform for targeted training and development, including workshops, masterclasses and networking events. This is followed by a further 6 months support by a script editor.
The “TV Drama Writer’s Programme” pairs up writers with independent production companies so that they can attend masterclasses and workshops that will give them experience working alongside established television writers and teams as they complete their scripts, with the aim for future full development.
The “Writer’s Access Group” is an initiative that was formed in 2018 to “give talented disabled writers the chance to expand their writing skills and to be offered opportunities in TV and Radio at the BBC.”
Alongside awards, bursaries, festivals and events, and a whole long list of success that writers have found through the BBC Writer’s Room, it is an opportunity that a budding television screenwriting would be remiss to not attempt to capitalise on.
Channel 4
From April 2013, Channel 4 in the UK will accept proposals for television shows via their 4Commissioning programme. Potential filmmakers are asked to email their proposal ideas directly to the relevant commissioning officer for the type of programme they propose, following a set of detailed guidelines, as seen below –
(Channel 4 Guidance Document, 2014)
Channel 4 also give opportunities to budding screenwriters through their 4Careers section on their website, known as 4Screenwriters. This course is way for interested writers to participate in a “series of lectures from high-profile writers, producers and directors. The expertise and guidance of your own script editor. Workshops with other leading industry professionals. These are the tools at your disposal. You’ll use them to craft an original one-hour drama or drama serial; we option your script for six months and set up a meeting with our Drama Commissioning team to discuss other opportunities to work with us.”
The course also offers participants the chance to have actors read through their scripts and attend an industry event in London to network with script editors and literary agents. This is also a paid opportunity, with the option for the script to be commissioned by Shelley Productions, who create content for Channel 4.
(4Screenwriting | Channel 4 Careers, 2022)
gassProductions
“Nearly all broadcasters require anyone submitting a TV idea to partner with a video production company. You cannot pitch a TV show idea unless you partner with a company who has a proven track record of making TV. gassProductions is that company.”
gassProductions are a leading production company in the Kent, UK, who focus upon documentary and factual events. They accept pitches of no more than 250 words from independent screenwriters via the “Pitch an Idea” tab their website for television programmes. They encourage writers to have them sign a non-disclosure agreement regarding their idea, so that all parties are covered in regard to the ownership of the pitch, thus protecting independent writers and their work, as well as fostering a relationship that is built upon trust and mutual respect.
(TV idea? – Pitch it to us, 2022)
Other Key Roles in Script Development
Scriptwriting Agent
A scriptwriting agent represents the screenwriter, handling many of the legal matters pertaining to the development and commissioning of a script. They will work alongside attorneys, offering advice and support to the writer when they are looking to close a deal of the sale of a movie or television script.
Scriptwriting agents differ from screenwriting managers in that while they are a representative of the writer, they are less directly involved than a manger, which is an often-misunderstood difference. Agents will be communication with a writer only when it is necessary to do so, where a manager will guide them every step of the way, setting up meetings and often offering feedback on their work.
Putting it frankly a scriptwriting agent is “all about the sale. They will be there for you when you’ve reached that point in your career when you have something to sell and need to negotiate a deal.” A scriptwriting agent will not necessarily earn a salary but work on commission, regarding the deals that they are an integral part of making, taking on average 10% of the potential profit.
- (How to Get a Screenwriting Agent and Manager in 10 Steps, 2021)
Screenwriting Managers
A screenwriting manager (or literary manager) will guide a screenwriter and are often seen as an essential assistant to budding writers wanting to break into the film and television industry and sell their scripts. They will guide the writer, help them to hone their voice, working with a very hands-on approach. Screenwriting managers are generally viewed as gatekeepers to the industry, finding and then nurturing new talent and getting them in touch with studios and producers.
“Screenplay managers love the hustle. They love marketing, networking and kickstarting new writers’ careers.”
- (How to Get a Screenwriting Agent and Manager in 10 Steps, 2021)
The work of a literary manager (for film) normally involves –
· Reading a range of unsolicited scripts and decided what writers to represent
· Suggesting changes that the writer can make to improve the chances of a script being sold to a producer or studio
· Deciding which studios would be best to pitch which writer’s work to
· Approaching studios / producers on behalf of the screenwriter
· Negotiating terms with producers and securing rights of the writer
Potential Salary
Scriptwriting managers, or talent managers can earn an average salary of $250K - $300K with the possibility of commission bonuses in the American film markets, but this is highly dependent upon where they work and the clients that they have. Should their client reach a high level of professional success, “there’s no real ceiling on earning potential,” according to Ryan Cunningham, a manager and producer for Madhouse Entertainment. - (Cunningham, 2018)
Career Pathway
The pathway to becoming a scriptwriting manager is mainly through internships and working alongside other agents and managers in the industry. Potential script managers could navigate into the role from other aspects of the business, with production assistants, such as Ryan Cunningham, finding their way to a mangers role, due to their creative experience working within the industry.
He recommends that budding managers –
· Apply for an internship — whether you’re in college or a few years out of it.
· Stay current with the trade publications.
· Read as many scripts as you can!
Script Supervisor
A script supervisor “oversees continuity during principal photography, ensuring people and props are where they should be in each shot” and are a responsible for ensuring the integrity of the film’s script during the production process.
The script supervisor has a very detail-orientated job, working alongside the film crew and the editor to make sure that the footage is organised and correctly shot, as well as timing the scenes that are being filmed to ensure that the length of the proposed production is being adhered to.
Veteran script supervisor Roe Moore describes the role, stating, “The typical day-to-day is keeping the set organized. When it comes to resets everything needs to go back to one. That means bringing back everything, props and people, to how the scene started… The Script Supervisor is a one-person crew keeping track of all these details. It can be quite intense.” - (Moore, 2018)
Salary
In the UK an entry-level script supervisor can expect to earn upwards from £195 per day on set, increasing with experience and dependant upon the budget of the film, show or studio at which they are working. The national average salary is £31,420, with the BBC offering £44,333 per annum for the role. - (How much does a Script Supervisor make?, 2021)
Career Pathway
Though many people enter media through an educational route, the role of a script supervisor is learned through the shadowing of another professional within a mentorship/apprenticeship. This usually occurs on larger productions and can open opportunities to progress onto working as a director or an editor, due to gaining the experience of being on set, focusing intently on what is being shot.
Whilst the role of script supervisor is not usually taught at “film school” or in college, media students can gain valuable skills and experience as a budding script supervisor by lending their talents to student film productions. Here, they can begin to learn and understand what the role entails and make valuable working relationships and connections that can help them in future.
- Budding script supervisors are encouraged to –
- Examine shows for continuity
- Join appropriate scriptwriting online communities
- Find a suitable mentor in the role
- Study the production of films and television
A potential script supervisor will also need to develop good, clear communication skills and have the confidence to be able to work closely with a director on set and tell them when a shot isn’t working, or that something is wrong, as a film can easily be ruined before it even reaches post-production by the script supervisor not actively keeping a diligent eye on set and relaying it to the crew.
Script Editor
A script editor is aa film industry professional who reads through a script and makes improvements or changes to it that will create a more professional and polished piece of visual media. They work on scripts for feature films, television shows, radio programmes and short films, collaborating with the scriptwriter.
As in post-production, a script editor is a key role in the script development process as they ensure that a screenplay ends up being the best that it can be before production begins. They may also be present on set during filming to make adjustments to the script that better reflect what they actors can bring to their roles or any changes that the production’s director may prefer. They might also check a script for factual accuracy, copyright infringements or libel and for any continuity errors. In some projects, a script editor may be responsible for hiring the best writers to create the original screenplay and work closely with these writers to develop the plot with the scriptwriting team, which may consist of several writers.
A script editor will have an excellent working knowledge of the script development process and be adept in improving the written work so that it meets the standards set by the industry. They need to be able to edit efficiently to meet the often-tight deadlines of a television or film production schedule and have great interpersonal skills to be able to work closely with scriptwriters and motivate them to make their script the best that it can be in order for it to be commissioned by a studio. - (What does a Script Editor do in the Film Industry? - Films On A Shoestring, 2021)
Potential Salary
The national average salary for a script editor in the UK is £37,981 per year at entry level. This can improve with experience in the industry, up to an average of £43,853 per year for a senior editor. The BBC offer £44,333 on average, ranging up to £56K, with £25K-£27K for independent contractors.
- (How much does a Script Editor make?, 2021)
Career Pathway
Though there are a variety of ways breaking into the industry, script editors tend to have at least a degree-level qualification in an appropriate subject, such as English, Journalism, Creative Writing or Screenwriting. The career path of a script editor is often a freelance position, so it is considered to be somewhat difficult to get work experience via a training position within the industry. There are occasionally such opportunities offered by major production studios such as the BBC and ITV, as well as through social media spaces such as the BECTU Vision Facebook page.
A vocational course in Script Development can aid a budding script editor to get the necessary experience that they will need to break into the industry. Other positions within film development can also help potential script editors to gain industry experience and contacts that will be needed to build a reputation.
Script Reader
A script reader, sometimes known as a script analyst, reads scripts and writes a concise report about them, which is called “coverage” so that a script can be quickly assessed by a production company, or for a competition. Though there are other members of a production company that will read a script through, a script reader is a role that is created specifically for the purpose of reading scripts that are in the very early stages of the development process and then converting them into a format that is easily digestible for a producer to make a decision about.
The script coverage that the script reader produces will include a logline, synopsis, a recommendation on whether the script has potential, a possible rating and any addition comments that they feel need to be brought to attention of the intended recipient of the coverage. This can take up to four hours to complete on average.
- (Friedman, 2020)
Potential Salaries
In the UK, a script reader can earn an average base pay of £31,595 per year, but this is dependent upon experience and the superiority level of the position. The Golden Script Competition, founded in Glasgow in the UK, pays script readers between £18K-£19K on average, where larger studios or competitions will be able to offer higher salaries to more experienced script readers. This is not a job role that is high paying, but can offer those working in the industry additional income.
- (How much does a Script Reader make?, 2021)
Career Pathways
Script reading is oft-considered a landing point, or a “low rung” on the film production ladder and can provide a good way for somebody to get into the industry, but Theo Friedman from industry online resource Studio Binder warns budding applicants that “It's important to know going in that script reader jobs should be considered a means to an end. Sure, it's hard work for little pay but remember to stay positive. It is a job that exposes you to the industry and provides insight to the business side of TV and film development.”
A good script reader will have an in-depth knowledge of how a script should be formatted and also narrative structures, pacing and character archetypes. Being able to understand what makes a good screenplay is key, but a script reader should also be able to spot when a script has potential and what might be done to improve it so that it reaches the level of professional polish expected by the industry.
Script readers should be practiced in producing script coverage by gaining as much experience as they can breaking down scripts into this format. If they are able to show that they have gained a good sample of work in their field.
Academic pathways are a good way of ensuring that potential script readers have an excellent grasp of creative subjects such as English or screenwriting that would make the role easier to manage. Vocational film production course that also help a potential candidate gain fundamental experience and contacts in the industry could be advantageous for getting into the professional aspects of script reading.
Producer
There are many different types of producer roles to be found within the film industry. Generally speaking, a producer is “an individual who aids in the development, planning, execution, and marketing of a feature film” or other applicable visual media production. A producer will often “initiate, coordinate and manage the creation and production of movies, television shows, web series, and commercial videos, amongst other productions” and are active throughout the entire of the development and production cycle of a project, often being the individual working behind the scenes to organise all of the individual elements needed to set a production into motion, from finances to talent and services.
- The responsibilities that a producer may undertake include –
- The purchasing and development of projects
- Hiring and management of key production personnel
- Setting the budget and securing funding for the project
- Developing the schedule that the project should be able to meet
- Overseeing the post-production development of the project
- Managing the marketing and distribution strategy for the project
As part of the script development process, the producer can sometimes be the one who hires the scriptwriter for a project, if there is a concept that has been proven to be worth producing. They can be the instrumental in getting a project off the ground and launching the careers of scriptwriters, filmmakers and even actors.
Producers are also responsible for securing the rights for a script that has already been written. This is referred to as “optioning” a script, with the producer buying it from the screenwriter with the option to turn it into a film or television show.
(What Does A Producer Do: Various Types of Producers in Film & TV, 2020)
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