Screen Writing for Television - Essay Example

Screen Writing for Television Television is one of the leading creative mediums of the entertainment industry. The career of screen is quite challenging one whether it is writing or producing a television programme. Working as screenwriter for TV industry is risky given the competitive environment, screenwriters work in. Trends are challenging and changing, which becomes evident when one inquires around. Things have become tougher with the economic downturn as production studios and television companies are not keen to stick to the standard business practices, ignoring them only at the expense of screen writers (Mazin, 2009). The positive aspect is that things would change for the better as soon as boom period arrives for the screen writers. The hiring companies will have to pay the price of cost-cutting later. The change in current trends in the TV industry for screen writers can be seen in primarily three fields. First, reward for writer’s job has got curtailed. Reputed writers can still command the desired price. They can still get their quote, but there’s a resistance to paying it, as companies are not as wiling and eager to pay as they used to be before the slump. Negotiation has become tougher these days irrespective of the rank and esteem of the writer. Some of the writers’ quotes have become doubtful; it has become harder to negotiate (Mazin, 2009). A view of the bargaining with the writers’ team shows that the team members need to show bravery and selflessness to clinch a favourable deal to write the IPA. The meeting between the guild members and the writers’ team supported by WCG in Canada speaks of writers’ passion for their craft, enforced with the facts and numbers made available by WCG people that works in the interests of the screen writers. The environment at the bargaining table is no less harsh, similar to as it can happen with some face-to-face meeting with the workers’ union. Things do not move for the better with each day passing in the bargaining process with some members of the writers’ team disappointing the team. Failure to reach a contract by all interest groups should not be random practice considering that the business volume touched the mark of $2.39 billion in production in 2010/2011 in the Canadian TV and films market (CDN Screenwriter, 2012). Secondly, the trend of one step deal with the writers is on the high. Some production studios do not provide any other choice to writers. Thirdly, the load of work has increased greatly to get a job as a screen writer. Coming to the quote price commanded by the writers, which has received a set back, it is because of the lack of capital in the market and cut in the stock price. The one-step deals provide a hedge against the risk, as they state: “we got the first draft and hated it so much we know that we’ll never like the next one but oh my God we have to pay for it anyway” phenomenon (Mazin, 2009, p. 870). Some writers over-pitch their quote to cover the risk but companies do not buy just blue prints when they have at their command, these days, a better leveraging model. Things are changing, which is just the indication that competition is harsh. The trend will change as soon as easy finance for a project is there. Writers will be offered work at premium rates and market will start correcting itself. It is just a matter of time. Experienced writers will start quoting their price and employment opportunities for the budding screen writers will increase (Mazin, 2009). Screen writing is not like any physical labour work. The second draft is sometimes more critical than the first draft. Only an accomplished writer can handle the story-line, starting his job with the second draft, as the production discards the first draft of a past writer. The end result could be that the company pays the price by engaging a number of writers to get the first draft to assimilate it with the second one. All screen writers do not have the art of writing the first draft such that the company depends solely for the same writer for the second draft. Some writers are adept in winning their case in the second draft only. It depends from writer to writer. Some writers may say ‘no’ to write the second draft in free (Mazin, 2009). Asking writers to pitch again and again is not a good notion for the production studios. It is quite tiring job for a screen writer to break stories, as he or she might be working on a number of themes. Creative abilities of the writers get lost in such lingering processes, as their attention gets diverted to non-creative works. But then, screen writing is a risky and rewarding occupation. The more the risk, the greater could be the reward. A pitch can not prove that the script will be equally great (Mazin, 2009). The formula of following the trend in screen writing does not work always as trends change suddenly. Till your story comes on the screen, the trend gets outdated by that time. A repeat concept can not be cashed again. Studios leverage from the concurrent trend only if it makes money. Catching with the trends is a tricky art. There are three methods to be with the writing trends as these: Identify the next craze Famous TV shows happen to revive after a certain gap; it is just like old fashion coming back again in the trend. It is evident from the number of attempts to re-design the popular TV shows of the 80s. This inclines that the programmes made in the 90s will also be recreated after some time, particularly because the time between trends is shrinking more. Writers with a far-sighted look can start rewriting the script of a past hit show, especially got popular after the past economic recovery from recession in the hope that the past trend will follow but there is no surety that it will hook a producer when the trend emerges. As a screen writer, at least one can have the satisfaction that one is ready when the time arrives (Dyer, 2010). Develop the next trend Taking the lead from the past hits, writers can offer an improvised version by changing the title. It seems to be very difficult but studios always welcome a change, which a creative writer can deliver (Dyer, 2010). Create a ready stock of scripts By creating a pile of your entertaining and well-designed screen writings, you can deliver instantly. It increases your chances to deliver as per the next prevailing trend (Dyer, 2010). It requires a lot of patience on the part of screenwriter to remain in the industry for a long time. The ‘helpful’ notes of producers, director and actors need to be taken lightly, without increasing your blood pressure. Sometimes, multiple roles are played by producers and other stakeholders, leaving screen writers at the whims and fancies of new entrants in other roles. Screen writers depend on the powers of others for getting writing opportunities. Writers desiring big bucks could be dismayed as the industry is very competitive and unwilling to afford high payments to screenwriters. A screenwriter, sometimes, may have to compromise by changing the dialogues of actors to provide them more screen time by going through regular rewrites of ensuing Acts (Scott, 2010). New Business Models Binning (2010) talks about the show-runner model of production, pointing towards an irony in the Canadian Television Production, remarking: “We try to copy everything in the U.S., and getting a show on American television is the Holy Grail, but we don’t make TV like they do” (p. 8). Binning was talking here in the context of 2009 WCG Show-runner Award, given to Mark Farrell. It was a pointer to the approach to the medium and about the problem of creatively leading in TV production. The Canadian screenwriters and producers revere greatly such names as Mathew Weiner, David E. Kelley, Steven Bochco, Aaron Sorkin and Shonda Rimes. These names represent class in American TV production for working the dual art of writing-producing with robust visions, creatively leading in all areas of production series. Canadian screenwriters reflect quite positively on the show-runner model of TV production in the U.S. but this model has not been as appreciated in Canadian TV industry as it has been popular in the U.S. The TV show of Andrew Wriggitt, Beachcombers, was without show-runner and staff writer. Rather, the freelance script was managed by an executive producer and story editor of non-writing background. In Canada, the production companies command excess control in creativity, that’s why the show-runner ranks are highly esteemed in Canada. These are the views of Peter Mohan, the winner of 2008 WCG Show-runner award. Show-runners are called lead writers although they are not head writers. Production companies want the famous writers to present themselves to the outside world as show-runners but in the background want them as their lead writers (Binning, 2010). Actually, there is basic difference in the production model of the U.S. and that of Canada. In Canada, producer of TV programs follow an approach of no outside intervention whereas in the U.S., the production model is studio-based, providing little freedom to the writer-producer. The difference in approach creates difference in payment to writers and producers (Binning, 2010). The American production model is riskier relatively to the Canadian model of production. In America, a number of shows of various networks are financed by studios. Networks also get financial support from various studios in the hope that at least one show will hit with the masses, as all shows do not click always. In stead of depending on the strength of various studios and networks, production houses bet on the vision of the creator of the show in America for hooking the audiences (Binning, 2010). The Canadian producers arrange finance themselves for their TV shows, which are hardly one or two at a time. They start their own small business sometimes by operating through a collateral production company. The Canadian producers do not just put their money on risk but their varied interests as well to see that their TV shows are a hit among the audiences (Binning, 2010). Adam Haight, senior supervising producer at Shaftesbury Films, remarks: “In Canada, the producer is very passionate and brings a lot to the table, and a production company lives or dies on the success of that project so that they won’t relinquish all the control” (Binning, 2010, p. 9). Canada is following the writer-show-runner model because the investors take note of the fact that shows hit by following this model unlike the U.S. production model. Severity of competition and the fear of failure in the making and success of TV programmes in the U.S. prompt producers to play the role of guess writers by interfering with the story through editing. Choice of Career Paths Budding screen writers should form or become members of screen writers’ associations to brighten their career prospects in television industry. It helps the aspiring students to get a hold and initial kick. Subscribing to associations’ mailing lists helps in zeroing the opportunities. The career development process in screenwriting can flourish more in the company of like-minded people (Screenwriters Association Singapore [SAS], 2012). Considering the 2005 employment statistics provided by the Writers Guild of America, West (WGAw), a little above 50% writers of WGA are employed in Hollywood for TV programmes and movies (Ross, 2012). Leading Hollywood companies such as Warner Bros., Disney, and ABC television offer workshops and fellowships, particularly ABC offers Daytime Writing Programme for screenwriters trying their talent in soap operas and Disney and ABCs Diversity Creative Development Programme for minority Native American and Latino screenwriters (Ross, 2012). Employment opportunities are not comparatively as bright as they were in 2010, registering a downfall of 8% for screenwriters’ jobs in 2011. Overall, loss of income was 12.6% from the last year (Chmielewski, 2012). Internship opportunities in the screen writer segment of TV industry are available at various production houses, to name DIRECTV, which is in New York City. Summer internships are available through the various schools’ internship and career services (Northwest University School of Communication, 2012). Considering the competition in the entertainment industry of which television is a part, career aspirations of screenwriters are going to be rewarding once the effects of recession are over but grooming oneself in the attire of television screenwriting is a very serious and creative occupation that needs to be developed through right kind of education, training, internship, and hands-on-experience in reputed and successful television production houses. References Binning, C. (2010). The showrunner model of production. Canadian Screenwriter. Retrieved July 7, 2012, from http://cdnscreenwriter.dgtlpub.com/2010/2010-05-31/home.php?page_view=8 CDN Screenwriter. (2012). A different kind of writers room – the bargaining team. Retrieved July 7, 2012, from http://cdnscreenwriter.dgtlpub.com/2012/2012-03-31/home.php Chmielewski, D. C. (2012, July 2). Film jobs for screenwriters fall for second year. Los Angeles Times. Retrieved from http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-writers-guild-employment-20120702,0,968982.story Dyer, P. (2010). Screenwriting mistake #16: following trends. Doctor My Script. Retrieved July 7, 2012, from http://www.doctormyscript.com/2010/10/screenwriting-mistake-16-following.html Mazin, C. (2009). Professional screenwriting trends – bad for us, bad for them. Retrieved July 7, 2012, from http://artfulwriter.com/?p=870 Northwest University: School of Communication. (2012). Major in radio/television/film. Retrieved July 7, 2012, from Northwest University, School of Communication website: http://www.communication.northwestern.edu/programs/major_radio_television_film/ Roos, D. (2012). How screenwriters work. Retrieved July 7, 2012, from http://entertainment.howstuffworks.com/screenwriter.htm SAS. (2012). Screenwriters Association Singapore. Retrieved July 7, 2012, from http://www.screenwriters.org.sg/display.php?page=home Scott, K. (2010). Putting words in their mouths. A Writer’s Life. Retrieved July 7, 2012, from http://cdnscreenwriter.dgtlpub.com/2010/2010-05-31/home.php?page_view=8 Read More