Unit 19 discusses scriptwriting roles and processes. It outlines key jobs in scriptwriting like commissioning editors, producers, directors, script editors, agents, and writers. It also examines how scripts are commissioned from corporations, independent production companies, organizations and competitions. The document details professional requirements for scriptwriters such as proper formatting, agent representation, communication, time management, and handing over control of the script. It covers legal and ethical considerations of the scriptwriting process including copyright, plagiarism, libel, bias, and censorship.

1. Unit 19: scriptwriting
Introduction
In scriptwriting the scriptwriter mustwrite scriptfor the actors so that the actors
know whatto say, how to say, whatto do while saying their lines, it also allows
not only the actors but the camera man as well to know whatis going on and
helps them keep track of what is going. Scriptwriting consists of many different
jobsroles and in this assay, I willtell you what the roles are, what the roles do
and why they do it.
Section1: Obtainingwork as a screenwriter – commissioning.
Job roles
Commissioning editors–commissioning editors aresenior employees of the
broadcaster they responsiblefor selecting programideas, they are also
responsiblefor allocating funds. Commissioning editors specializein a particular
genre they also havea creative input and overseethe writing process through
production.
Producers- Producers areoneof the main people they overseeeverything that
falls under the remit of the director e.g., financial, legal, admin. When writers are
‘on staff,’ producer may originatea project, pitch, organizeand finance then
attach it to a particular writer to develop.
Directors- TheDirectors takethe idea and the scripts and is responsiblefor pulling
it all together becauseof this they supervisethe acting and lighting that is
required. They also providethe overallcreative vision fromwhich the DoP
(Director of Photography), Technicians and Editors work from. They interpret the
scripthow they see it working (a writer has little to no control over this)
Script editors- Scripteditors provides a critical overview of the scriptwriting
process. They also liaise between Commissioning Editor, Writer and Producer.
They use their analysis skills to identify problems but don’t create solutions. They
can help strengthen and develop screenplays.

2. Agents- Agents finds talented new writers and delivers them to the producers,
studios, and television networks. They also organizecontracts and negotiate
appropriatedeals. The agent builds relationships with industry decision makers
and supportand guide writers’ careers.
Writers- Writers areresponsiblefor research and develops an engaging narrative
and an emotional impact. The Writers write the screenplay to meet the brief in
the appropriateformatand a vastmajority of writers are freelancers and
sometimes they write in teams.
Commissioning bodies
Corporations- Almostall the pitching of ideas for big corporations (e.g., Fox, Sony,
Disney, Universal) goes through established relationships – this provides a ‘Safe
bet’ of already known names who havealready worked for big companies, indies,
or agents. These companies are part of large conglomerates because they have
complete ownership of all stages of production (funding, production, distribution,
marketing, and in some cases exhibition). Some big corporations such as BBC, ITV,
and channel 4 can give writers a chance to submit their scripts and if the
corporation the writer chooseto go to enjoys the script, they may commission the
scriptto be made for one of their channels. For example, on the BBC website you
can access a rangeof scripts people have submitted and can download them to
read this gives the corporations an incite of what is popular amongstthe public.
Corporations area good thing for writers who justwant to write episodes of a TV
series and for writers to get the feel for writing for big corporations.
Independent productioncompanies- Thereare hundreds of independent
companies in Britain. They strikedeals with other companies to produce material.
Writers may submittheir work directly to an IPC. Differentcompanies are known
to do different genres and work to varying budgetary capabilities. IPCs aregood
for writer who are juststarting off becausethis way they can get feel of how
things are done and how they aredone.
Organizations- Therearealso severalorganizations that are set to help writer kick
starta career in media for example BBC writers and BFI film academy. The Writers

3. Guild of Great Britain. Organizations can be a good thing for writer to get bigger
and better deals with popular companies.
Competitions- Thereareseveral scriptwriting competitions available for entry
with cash prizes. Winning a screenplay competition does not mean you will
automatically be successful, butit does mean that a writer's screenplay will be
read by potential agents and producers. For example, Austin screenwriting
competition - there is a proven record of accomplishment of writers who have
sold, gotten representation and launched their careers based on winning these
screenwriting contests. There is even one in the UK called UK FilmFreeway that
run three competitions, with all winners since 2013 being in pre-production or
production, with somewinning awards. Competition is a good thing because this
give writer an easy chance to get noticed by producer and agents and to help kick
starttheir career.
Section 2: Workingas a writer - The demands and
Requirements.
Professional presentation- Writers mustensurethey producework using the
industry accepted formatting standards which is master scene script. Even
something as basic as font used and size of the font are crucial becauseproducers
use the length of the scripts to figure out how long the film is going to be (1 page
per minute). Incorrectly formatted and produced scripts will more than likely will
not be read.
Agent representation- An agentis someone who looks after the sales and the
workload of a client. The amount of pay the agent gets depends on the
percentage the client and the agent agree on, which is usually between 10-15%.
They will take the fix percentage fromhow much the client ever makes due to the
work of the agent. The agent will negotiate the sales to the publisher, theatrical
producer, and film producer. Somewell-known publishing companies will not
accept a client unless they have an agent to representthem. Having a more
experienced agent is a big advantageas they will already have contacts to send
the work to.

4. Communication- Communication is vital in film becauseif people don’t
communicate then nothing gets done and everything falls apart which will the
companies to lose money.
Time management- Time management is where you must make suretime is
divided correctly this is especially important when writing scripts. Wasting time
can causescripts remain unfinished for extensive periods of time. Sometimes if
left unfinished for so long, a writer can end up losing interest and end up giving
up. Time management is even more important when a scripthas been
commissioned and the writer mustwork with a whole team of people that are
relying on the scriptto be finished on time. If deadlines are not met it can cause
strained relationships on with people in the commissioning purposeespecially
with agent and producers. If thewriter is behind schedule, it causes the
production to be schedule and can cause money losses.
Royalty payment- Royalty payments are what writer will receive fromthe sales of
books and films along with the use of the script. Royalty payments are split
between the writer, the agent, and the producer. The payments the writer will
receive will be varied.
Hand over control- Once the scriptis sold the writer only has right that were
agreed with the purchaser. Screenwriters arerarely involved in the development
of the film. Sometimes they come on as advisers, or if they are established, as a
producer. Although many scripts are sold each year, many do not make it into
production because the number of scripts that aresold each year outnumber the
number of professionaldirectors that are working in the film and TV industry.
Some scripts are‘optioned’ which means the production company buy the rights
for a period of time with the option of making it – while they hold the rights
nobody can producethe script.
Section 3: The scriptwriting process – legal & ethical
considerations.
Copyright- you can’tcopyrightand idea, but you can copy right your script. As you
work digitally, a date is created in the file, and this automatically attaches the
copyrightto you and the date. You should put the copyrightsymbolon your front
page and every page of your script. You can take extra steps such as registering it

5. with a bank or solicitor, sending it to yourself specialdelivery (and not opening it)
to proveits creation date. This is a good thing so then people can’tsteal whatyou
created and claim it as their own this way you get the all the credit.
Plagiarism- Writers mustbe incredibly careful about how similar their products
are to existing works. Itis an actionable offenceto infringeon somebody’s
copyrightor trademark. Plagiarismcovers a spectrum fromword for word to
changing some words, to copying ideas and arguments. The common thread is
that the copying is dishonestbecause it is unacknowledged. Plagiarism cases may
be settled via the originator receiving credit (making them eligible for royalties
and profits accrued). This is a both good and bad thing as yes it means that you
can’t steal someone else's hard work, butit does mean that trying to come with
an original idea withouttaking and idea and changing to suit you is harder than
ever.
Libel- The libel refers to writers inaccurate and malicious things about an
individual, group, or business in a written text or broadcast. Research by writers
has therefore must be meticulous, so as not court legal issues through
misinterpretation. To collect damage, individuals mustproveactual malice was
intended.
Bias- When writing fiction, bias is an ethical issue. You may wish to consider how
you are going to present different people, groups, events, and organizations.
‘Representation’ is central issue in media production, and it should always be in
your thoughts when you are creating and writing. If you are writing non-fiction, it
becomes even moreof an issue, some programmes (such as theBBC new) have a
commitment to be balanced, impartial and fair.
Censorship- Writers mustconsider their intended form and audience when
writing scripts. TheBBFC have strict guidelines about whatcan and cannot be
shown on TV, video, games, radio, and film. To make the subjectmatter
appropriatesome aspects may need to be cut/censored. This revolves around
depictions of violence, sex, language, discrimination, drugs use, it also revolves
around who the audience is and how the material is presented.
Watersheds- In broadcasting, watershed is the point in time after which
programmes with adult content may be broadcast. Itdivides the day into the
overnightperiod where family-oriented programmes that are suitable for children

6. may be aired and whereprogrammes aimed at or more suitable for an adult
audience is permitted, though not required. In most countries, the same set of
rules also applies to television commercials, both for the content of the
commercials and the nature of the productor servicebeing advertised.