The document provides an overview of the roles and responsibilities involved in the scriptwriting process, as well as legal and ethical considerations. It discusses the roles of commissioning editors, directors, producers, script editors, agents, and script writers. It also covers topics like obtaining work, professional presentation standards, collaboration, handing over creative control, copyrighting works, avoiding plagiarism and libel, minimizing bias, and adhering to censorship standards. Overall, the document outlines the complex process and responsibilities required of scriptwriters to ethically and professionally develop compelling narratives within the media industry.

1. 0Section 1
Obtaining work as a screenwriter: How commissioning works
Job Roles
Commissioningeditor:The commissioningeditoristhe senioremployee onthe project,theywork
withthe scriptwriters,have creativeinputandspecialiseinaspecificgenre.They’re responsiblefor
selectingthe ideaforthe programandallocatingthe funds.Thismeanstheyselectthe scriptthey
findmostappropriate andgive the productionabudget. Theywill overseethe process,with
creative inputandoverall authorityoverthe writing,developmentandproductionthroughtillthe
end.Theymanage the projectoverall.
Directors: The directorsare the people responsible forturningascreenplay/scriptintoa fully-
fledged andproducedentertainmentproduct.Theytake the ideasandthe scriptto bringit all
togetherandguide the actual productionaccordingto how theythinkitshouldall playout.For
example,inthe productionof afilmthe directorwouldbe responsible forinterpreting what’s
writtendownintoclearinstructionstheycanuse tooversee everythingthe cameracrew,editors
and actors are doingonset. Ensuringthe productbecomesthe bestandmostentertainingversion
of whatthiswriterhasinitiallyintendedittobe.
Producer: The role of a producerinthe productionof a mediaproject,suchasa film,istooversee all
areas thatdon’tfall underthe directorscreative control.While the commissioningeditorassignsthe
budget,the directorbringsthe scriptto life,the producerwillorganize the projectandproduction.If
they were makingafilm, the producersrole wouldbe able to choose the cast andprops,theycheck
that the productioniswithinthe budgetallocatedbythe commissioningeditor.They alsodeal with
any legal mattersthatwouldbe involvedwith makingthe client’s/company’sscriptintoafilmready
to release. Theywillworkcloselywiththe directors etc.toensure theyfulfill theirjobroles.
Script editors:The role of thisjob isto provide acritical overview of the writingprocess,thisperson
will make use of theirstronganalytical skillstohighlightthe errorsina scriptfor the writersto
correct. Quite oftentheywill communicate withthe commissioneditor,writersandproducersto
playtheirpart instrengtheningaddevelopingthe ideasinthe screenplay.
Agents:screenwritingagentsare oftenhiredbywriters(the majorityof whichare freelance)to
promote andsell theirscriptstoproducers/studios,thisrequiresthemtobe able toorganize and
negotiate contractsthatwill benefittheirclient.Quiteoftenthesepeople willbuildupawebof
contacts withthe bigdecisionmakersof the industrytogive themleverageandexpandtheir
influenceinordertomaximize theirefficiency,theyplayahuge role intoguidingwritersintoa
successful career.
Script writer: The writersare the oneswhoresearch,developandwrite acompellingnarrativefor
the screenplayinaccordance to eithertheirownideasora brief theyhave beengiven.A lot of
writersare freelance,whoworkwithvariousdifferentcompanies.There are some whoworkforone
company,sometimesinteams,writingideastheyhave beengivenbythe producer.Some writers
use theirownideasforscriptsand go on to sell orpitchthemto companiesthroughtheiragents.
Commissioningbodies:Whomightcommissiona script from the scriptwriter?
Corporations
Almostall of the pitchingforbig corporationslike Universal orDisneyrunonestablished
relationships,alreadyknowingthe nameswhohave workedforthe differentcompanies createsa
safe bet(itssaferto workwithwritersandeditorsyouknow will getthe jobdone exactlyhow you
like it,whichisimportantwhenlarge amountsof moneyare atstake).Thisiswhyit isimportantfor

2. writerstofinda well-connectedagentorbuildareputationforthemselveswiththe bigplayersin
the mediaindustry,if itrunson relationshipsawriter’ssuccessintheircareerdependson their
networking. CompanieslikeDisneyare whatiscalledaconglomerate,becausetheyhave complete
control of all stagesof production(theyowncompaniesforfunding,writing,production,marketing
and distribution).
In the Uk tv industry bigcompanieslike the BBC commissionscriptsfortheirshows, corporationslike
thisone provide newandupand comingwritersa chance to submittheirscriptsontothe BBC
website.If the companylikesthe script idea, theymaycommissionthe writersscripttobe made into
one of theirtvshows,italsogivestheman ideaof whatkindof storiesthe publiclikes.
Independentproductioncompanies: Hundredsof independentcompaniesexistall acrossBritain,
theyare known tostrike dealswithvariousothercompaniesforthingslike broadcastingona
networktoproduce theirmaterial.Differentcompaniesare knownforworkingwithvaryingbudgets
and withinspecificgenres/styles.Assmallercompanies,itisbeneficial forthemtofocuson one
genre to buildupa reputationwithinthatcommunityinsteadof tryingtoworkinmultiple genresall
of the time. Forsmallerwritersitcanbe easiertogettheirideasdevelopedbyIPCsthanlarge
corporations.
Independentdirectors:Independentdirectorsaren’temployedbyanyfilmcompanyormajortv
station,they’re verysimilartoregulardirectorswiththe maindifference beingthatindependent
directorsusuallyworkinsmaller projects. Therefore,theyhave limitedaccesstoproductionteams
and lesspersonnelmeanstheyhave more responsibilitiestodecide whathappensonset.
Organisations: There are numerous organizations tohelpkickstarta writer’scareer,these include
placeslike BBCwriter’sroom,Goodina Roomand the BFI FilmAcademy.Forexample,BBCWriter
Roomhelpsplace writerswithindependentcompaniesinthe ukto developtheirfirstscript
commission. Theyplayanimportantrole inhelpingthe new generationsof scriptwritersintthe
industry,helpingthemtoperfecttheircraft.
Competitions:Screenplaycompetitionsare quite common,theyusuallyoffercashprizes(which
couldgo towardsfundingthe winnersownprojects) andwhile theyaren’taguarantee forsuccess,
they’re agreat wayto get a writer’sworkreadby possible future producers, directorsandagents.As
we establishedearlier,alotof projectpitchingrunsoff of relationshipsandestablishedreputations.
Therefore,gettingyourworkoutthere can getyour name out there tothe bigplayersinthe
Industry. Forexample, the Austinscreenwritingcompetitionhasaproventrack record of gettingits
winnersintosellingscriptsandsuccessinthe industry.
Section2: Workingas a writer- the demand and requirements oftheirprofession
Professional presentation:whenawriterisproducinga scriptthere are specificformatstheymust
follow,if theywere writingaradioscript,theywouldhave touse theiractionlinestodescribe the
soundscape andaudible actions.If theywere writingafilmscript,theywouldhave touse their
actionlinestodescribe the visual aspectsof the productaswell asthe transitionsandpossiblythe
camera shots. Basedonwhat isrequiredof a scriptfrom eachsector.A formatexpectedbystudios
isthe Master Scene Script,thisregulatesthe fontsize,layoutandcontentsof how scriptshouldbe
carriedout. Followingthese formatsmakesiteasyforthe readerto follow,1page equatesroughly
to 1 minute of screentime.A producercantell whetherascriptis goodenoughbylookingathow
manypagesit has. It Is importantthe writerproducestheirworktomeetthese expectations
because theywouldstruggle togettheirworkcommissionedormade intofilms/radiodramas/tv
showsotherwise.

3. Agent representation:Whenworkingasa writeritisimportantto findthe correct agentto work
with,these are the people allowedtomeetwithpossible publishersandproductioncompaniesto
sell yourscriptsandideas.Dependingonhow muchthe writeragreesto,the agentwill take a
percentage of theirearningsaspayment.Overall,itisextremelyimportanttofindthe most
experiencedandpopularagentyoucan.Due to theirjobrole,thiswill meantheyhave more
connectionsinthe industry.Makingthe writerhave amore successful career. The betterthe agent,
the more commissionstheyreceive toearnmoney.
Communication:Thissoft skill isrequiredof the writerbecause quiteoftentheyhave been
hired/commissionedtowrite ascriptaccording to the client’sideasorneeds.Therefore,theyneed
to have excellentcommunicationskillsintheirpractice toensure that the worktheyproduce meets
theirclient’sexpectations. Thisskill will playahuge role inthe qualityof theirwork,if they cannot
discussthe scriptideaproperlywithscriptandcommissioneditorsthentheyhave limitedtheir
abilitytodevelopthe narrative andstoryline.Overall,thisskill isextremelynecessaryandbeneficial
to a scriptwriter.
Time management:Time managementisveryimportantwhenworkingasa writerinthe media
industryregardlessof whatsectoryouare in,if the writerhas poor time managementskillsitleads
to a lot of wastedtime andunfinishedscripts.Itispossiblethatif the writerneglectstowrite ona
scriptfor too longtheywill lose the ideasandpassionforthatproject(meaningtheywill struggle to
make it highqualityandengaging).Itbecomesevenmore importantif the writerhasbeen
commissionedtoworkwitha teamof othersall relyingonthatscriptin orderto do theirownjobs.
The writerplaysa large role in howwell orhow quicklythe projectgets done,the directorsand
producerscan’tevenbegintoplanfor productionuntil writerhasfinishedtheirdrafts.Eventually,if
deadlinesaren’tmetontime itcan cause strainedrelationshipswithcommissioneditors,agentsand
producerswhoare all people theyshouldbe tryingtoimpressinordertofindworkin the future.
Royalty payments: These are paymentsthatwriterswill receive fromsalesof the books,filmsorthe
use of the scriptin a project.Soin the filmindustrythe writerwouldreceive apaymentfroma
directoror productioncompanytouse theirscriptin a project.Quite oftenthese paymentswill be
splitbetweenthe writerthemselvesaswell astheiragentorproducer.
Collaboration:As mentionedinthe communicationsection,awriter’ssuccessinproducingan
appropriate scriptdependsontheirabilitytoworkwithotherprofessionalsinthe mediaindustry.
Theirjobrequiresthemtobe able to communicate,work withothersandshare ideastocreate the
scripttheyneed.If theyhave beencommissionedandhave toworkin a teamit isabsolutely
essential theyare able toworkwiththe otherwriters,scripteditorsorproducerstoensure
everyone isaware of the directionthisscriptisheadedintermsof storylineandnarrative.The
bettertheyare able to produce thisscript,the more the directorcan workwiththe create a high-
qualityfilmandthe more likelythe companyare toworkwiththe writeragain.Asestablished inthe
corporationsection,theyworkbasedonrelationships,therefore,utilizingcollaborative skillscould
be the writer’sopportunitytoworkwiththe bigplayerslike DisneyinfilmorBBCinthe tv sector.
Handing over control: The role of a writerinthe mediaindustryis toresearch,developand
construct a narrative fora script inaccordance to theirownideasorthe conceptcommissionedbya
bodysuch as corporations.Once theyhave fulfilledthatrole,theyare requiredtostepbackand
handover creative control of the scriptto whoevertheyhave solditto(afterthe scriptis soldthey
onlyhave the rightsagreeduponby the purchaser).Some scriptsare optioned,whichmeansthe
productioncompanyhave boughtthe rightsto use that storyfor a periodof time andno one else
can use it. It isimportantthatwriterhandsovertheircontrol to keepa clearline betweentheir

4. interpretationandwhatthe directorhasinmindto make itintoa fullyproducedproductsuchasa
radiodrama.
Section3: Legal and ethical considerationsof the scriptwritingprocess.
Copyrighting:While ascriptwritercan’tcopyrightan idea,they canwiththeirscripts.Thisprocess
beginswhenawriterworksdigitally,adate isset inthe file thatautomaticallyattachesyouandthe
date you workedonit.On top of this,the writershouldalwaysplace theirname andthe copyright
symbol onthe front coverand everypage of the script.These act as proof of ownershipforthat
scriptshouldanotherscriptwritersteal itandattempttosell itto productioncompaniesastheir
own,havingthe original writersname andthe date theystarteditwouldbe solidevidence of their
claimto that script.Thisprotectsthe scriptwriter’swork,stoppinganyone fromearningmoneyoff of
theirown scripts.If theywishto go furthertoprotect theirownhardwork and income theycan
registeritwitha solicitor.ItIsvital to a writer’screative integrity,business withclientsandincome
to copyrighteachof theirownscripts.
Plagiarism:When producingscriptsfora product,scriptwritershave bothamoral andlegal
obligationtomake sure theirworkisnot toosimilartoan existingproduct.Itisconsideredan
offence toinfringe uponanother’scopyrightortrademarks.Plagiarismcoverswordforword
copying,stolenideasorargumentsanda copyingfromanotherscriptwith changedwords. Quite
oftenplagiarismaccusationsare takentocourt,and as we’ve established,delaysinthe writer’s
processcan create strainedrelationships.Whichcould impacttheirchancesof getting
commissionedagain. Evenif the writerwasinnocent,the courtcasesandcheckscouldbe seriously
damagingto the timelineof productionforthe project,inthiscase a film.Forexample,the Indian
scriptwriterJuni Chaturvedi wasaccusedof plagiarismoverherscriptinthe filmsectorforthe film
“GulaboSitabo”.Whenshe failedtosubmitherownscriptto that of one submittedin March2018,
the police were askedtoseize the scriptanditwas takento court. Althoughshe was innocent, her
failingtofollowproperprocedurewithherscriptfora plagiarismleadtohuge delaysandalot of
negative publicityforthe filmshe wasworkingonwriting.Thereisalsoanethical concern,itcould
be damagingto a scriptwriter’sreputationtobe foundoutplagiarizinganother’sscript. Theywould
be seenas dishonestandbadat theirownjob, damagingtheirownsuccesswithinthe media
industry.
Libel:Libel referstoinaccurate andmaliciousclaimswrote aboutanindividual,businessorgroupin
writingoron broadcast.A great wayto explainlibel ina scriptwriters’ careerwouldbe if the writer
for the bohemianrhapsody,AnthonyMcCartenhasfilledthe filmscriptwithmaliciousanduntrue
thingsaboutFreddie Mercury.Orif Martin Kordasuddenlydecidedtowrite fora videogame
slanderingapolitician,claimingthey hadfabricatedthe Covid-19pandemic.Whilethose examples
may have beenextreme,they’re agreatwayto put intoperspective how easylibelcanbe for a
scriptwriter.Notonlydothese professionals have alegal obligationtonotinclude libelintotheir
scripts,because theycouldgetsued(whichcouldcostthema lotof money,if theywere
commissionedtheycouldcosttheirclientalotof money). There isalsoan ethical responsibility,If
Martin Korda hadwrote maliciousthingsaboutarunningpolitician,he couldhave ruinedthat
politician’sreputationandchancesof success. Theirrole isto write the foundationsof amedia
project,be ita game or a film,sowhattheywrite aboutan individual will be consumedbymass
amountsof people.Theirwordsquite literallyhave alotof weight,therefore theircredibilityasa
professionalbutalsoasa personcouldbe seriouslyimpactedbysuchanoffense. Writershave todo
a lot of prior researchtoavoidthis.
Bias: Bias isan ethical issue, the writerhasamoral responsibilitytotake intoconsiderationhow
they’re representingdifferentpeople,eventsandorganisations.Representationisaprobleminthe

5. mediaproductionindustryanditall beginswiththe script.The scriptthe writerproducesbecomes
the foundationsof amediaproduct,so forexample if the writerisbiasedtowardsa minorityof
people andtheyreflect thatintotheirwork. Itcouldtransferintothe final productthatwill be
consumedbymillionsof peoplewhoare impressionable.Therefore,the writerhasa responsibilityto
remainunbiasedastonot inserttheirown opinionsintoascript topreventthe spreadof a harmful
narrative.These peopleplayahuge part inthe productionprocessof varioussectorsandthe writers
are obligatedtoreflectthat.
Censorship:Whenresearchinganddevelopingascript,scriptwritersmustidentifythe target
audience andconsiderwhatisandisn’tappropriate forthat group.For example,whenwriting
dialogue foragame the writerneedstotake intoconsiderationwhatage range itisfor and whether
or not thingslike profanitieswouldgainitahigherPEGIage ratingthat excludesthe chosen
audience.There are organisationslikethe BBFC(BritishBoardof Filmclassification)andthe PEGI
(panEuropeanGame information)rankingsystemtoensure thatmediacontentlike filmsandgames
are monitoredandrankedbasedonthe content andhow suitable itisforthe chosentarget
audience.Quite often,if the contentisdeemedinappropriate the productwill needtobe edited
againor censored,whichcausesdelaysinproductionandcostsmoney.Therefore,itisthe writer’s
ethical andlegal responsibilitytoproduce ascript that isappropriate fortheiraudience tobecome a
successful writerwithagoodworkingreputationwithclients.
Watersheds:Inbroadcasting,the watershedisthe pointintime thatindicateswhenprogramswith
adultsuitedcontentmaybe broadcastedontv. In the UK the free-to-airtvwatershedisbetween
9pm to 5:30am, thoughpremiumandpayedchannelsmaybeginearlierat8am. Watershedsdecide
the day intotwoseparate periods,the time whenfamilyfriendlycontentisplayedandwhenadult
contentisplayed.Itmustbe notedthatrated 18 contentisnot allowedtobe broadcastedandmust
be editedtofitthe appropriate guidelines.Watershedsplayalarge role inhow the scriptwriter
carriesout theirwriting, soforexample if JamesHenry(the scriptwriterforthe iconicchildren’stv
showbobThe Builder) decidedtowrite afora children’stvshow he mustconsiderwhatis andisn’t
appropriate forthat age range.If he isaimingfor childrentowatchthistv show,he needstobe
cautiousaboutwhetherthe productwill endupbeingdeemedunsafetobroadcastbefore the
watershedperiod.Meaningthat,ascriptwriter’slegal andethical abilitytobe aware of theirscript’s
contentiswhat determineshowsuccessful ashow will actuallybe.Afterall,if JamesHenryhas
failedtoresearchandconsiderproperly,the productthe companyinvestedsomuchmoneyinto
may noteverbe seenbythe intendedaudience.