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Author: Patricia F. Phalen Publisher: ISBN: 9781138229815 Category : Television authorship Languages : en Pages : 0
Book Description
The central focus of Scripting Hollywood is the television writing process for drama and comedy series. Patricia F. Phalen argues that the way writers do their jobs is heavily dependent not only on the demands of commercial business but also on the uncertainties inherent in a writing career in Hollywood. Drawing on the literatures of "Media Industry Studies" and "Occupational Culture," Scripting Hollywood shows how writers efforts to control risk and survive in a constantly changing environment affect the stories they tell and how they tell them. Using data from personal interviews and a two-month participant observation at a prime time drama to analyze the relationships among writers in series television, this text describes the interactions between writers and studio/network executives, and explains how endogenous and exogenous pressures affect the occupational culture of the television writing profession. Scripting Hollywood is written primarily for undergraduate and graduate courses in Media Industries and Organizations, screenwriting, television studies, and popular culture. It will also appeal to anyone interested in how media "work." "
Author: Patricia F. Phalen Publisher: ISBN: 9781138229815 Category : Television authorship Languages : en Pages : 0
Book Description
The central focus of Scripting Hollywood is the television writing process for drama and comedy series. Patricia F. Phalen argues that the way writers do their jobs is heavily dependent not only on the demands of commercial business but also on the uncertainties inherent in a writing career in Hollywood. Drawing on the literatures of "Media Industry Studies" and "Occupational Culture," Scripting Hollywood shows how writers efforts to control risk and survive in a constantly changing environment affect the stories they tell and how they tell them. Using data from personal interviews and a two-month participant observation at a prime time drama to analyze the relationships among writers in series television, this text describes the interactions between writers and studio/network executives, and explains how endogenous and exogenous pressures affect the occupational culture of the television writing profession. Scripting Hollywood is written primarily for undergraduate and graduate courses in Media Industries and Organizations, screenwriting, television studies, and popular culture. It will also appeal to anyone interested in how media "work." "
Author: Katherine Herbert Publisher: Allworth Press ISBN: Category : Business & Economics Languages : en Pages : 168
Book Description
This fully updated, career-boosting book arms aspiring and experienced writers with an insider's insights into the process of conceiving, writing and marketing a winning film or TV script. A veteran story analyst reveals what is demanded of scriptwriters in today's competitive marketplace.
Author: John Robert Marlow Publisher: Macmillan ISBN: 1250001838 Category : Performing Arts Languages : en Pages : 322
Book Description
$50 Billion of Advice in One Book* Have you ever wondered why some books and stories are adapted into movies, and others aren't? Or wished you could sit down and pick the brains of the people whose stories have been adapted--or the screenwriters, producers, and directors who adapted them? Author John Robert Marlow has done it for you. He spoke to book authors, playwrights, comic book creators and publishers, as well as Hollywood screenwriters, producers and directors responsible for adapting fictional and true stories into Emmy-winning TV shows, Oscar-winning films, billion-dollar megahits and smaller independents. Then he talked to the entertainment attorneys who made the deals. He came away with a unique understanding of adaptations--an understanding he shares in this book: which stories make good source material (and why); what Hollywood wants (and doesn't); what you can (and can't) get in a movie deal; how to write and pitch your story to maximize the chances of a Hollywood adaptation--and how much (and when) you can expect to be paid. *This book contains the distilled experience of creators, storytellers and others whose works have earned over $50 billion worldwide. Whether you're looking to sell film rights, adapt your own story (alone or with help), or option and adapt someone else's property--this book is for you.
Author: Kenneth Atchity Publisher: Story Merchant Books ISBN: 9780996990875 Category : Languages : en Pages :
Book Description
This little book aims to help you figure out how to get your story told on big screens or small. It offers nearly thirty years of observation of how things happen in the business of entertainment. Dr. Ken Atchity's Hollywood experience ranges from writing to managing to producing; he's seen Hollywood from nearly every angle.
Author: Jennifer M. Lerch Publisher: Simon and Schuster ISBN: 0684856409 Category : Performing Arts Languages : en Pages : 180
Book Description
From a veteran Hollywood script reader who knows what sells--and what doesn't--comes a comprehensive collection of screenwriting tips that provides essential facts for anyone writing a screenplay.
Author: Scott Kirkpatrick Publisher: CRC Press ISBN: 1317704207 Category : Performing Arts Languages : en Pages : 202
Book Description
Tailor your screenplay to sell. Find out what Hollywood script readers, producers, and studio executives want in a screenplay (and why) from someone who’s been there. Discover what it takes to begin a lasting career as a screenwriter. Peppered with interviews from established professionals, Writing for the Green Light: How to Make Your Script the One Hollywood Notices gives you a sharp competitive edge by showcasing dozens of everyday events that go on at the studios but are rarely if ever discussed in most screenwriting books. With his behind-the-scenes perspective, Scott Kirkpatrick shows you why the system works the way it does and how you can use its unwritten rules to your advantage. He answers such questions as: Who actually reads your script? How do you pique the interest of studios and decision makers? What do agents, producers, and production companies need in a script? How much is a script worth? What are the best genres for new writers and why? What are real steps you can take to ‘break in’ to television writing? How do you best present or pitch a project without looking desparate? How do you negotiate a contract without an agent? How do you exude confidence and seal your first deal? These and other insights are sure to give you and your screenplay a leg-up for success in this competitive landscape!
Author: Tony Blake Publisher: Xlibris Corporation ISBN: 1425784194 Category : Performing Arts Languages : en Pages : 190
Book Description
Whenever I speak with aspiring Hollywood writers, the first question they ask is ¡§How do I break in? How do I get an agent and how do I get that first job.¡ ̈ But getting an agent and that first job isn¡¦t going to get you very far. What aspiring writers should be asking is ¡§How do I build a successful career in Hollywood?¡ ̈ The agent and the first job is just the beginning. Hollywood is full of writers who sold one or two scripts and were never heard from again. What it takes to succeed on your first job and then build on it to get the next job and the next is what separates the ¡§one script wonder¡ ̈ from the writer with a Hollywood career. Among the questions aspiring writers really need to ask are: « How Do I Know When My Spec Script Is Ready For Submission? « What Does An Agent Look For In A Writer Beyond Their Scripts? « Once I Have An Agent What Else Should I Be Doing? « When I Go To A ¡§Meet & Greet,¡ ̈ What Do I Say? « How Do I Prepare For The Different Types Of Pitch Meetings? « How Do I Handle Notes I Disagree With? « Do I Need A Lawyer And A Manager? Most writers discover the answers to these questions through trial and error. But in Hollywood, errors can be costly to a writer¡¦s career. More than one writer has seen his career thwarted due to a simple lack of awareness. The goal of ¡§Writing For The Hollywood $¡ ̈ is to arm aspiring writers with as much information as possible so not only will the road to their first agent and sale be easier, but they¡¦ll also be able to avoid costly mistakes and have a much better chance of turning that first job into a another and another. ¡§Writing For The Hollywood $¡ ̈ begins by asking the writer to do some serious self-examination as it lists the basic ¡§ingredients¡ ̈ beyond a good script that a writer will need if they expect to build a career as a Hollywood writer. From here it goes on to cover topics such as dealing with executives, the different types of pitch meetings, the script notes process, the realities of working on a television writing staff and avoiding potential land mines that can damage a writer¡¦s forward progress. ¡§Writing for The Hollywood $¡ ̈ provides invaluable information for anyone who¡¦s ever aspired to write for the screen, by someone who¡¦s actually been there and done it.
Author: Thomas Lennon Publisher: Simon and Schuster ISBN: 1439186766 Category : Biography & Autobiography Languages : en Pages : 328
Book Description
"A hilarious and helpful insider's guide to launching a successful writing career in Hollywood. . . . The only compass readers will ever need to navigate the treacherous waters of filmmaking"--("Kirkus Reviews," starred review).
Author: Catherine L. Fisk Publisher: Harvard University Press ISBN: 0674973208 Category : Law Languages : en Pages : 398
Book Description
Required to sign away their legal rights as authors as a condition of employment, professional writers may earn a tidy living for their work, but they seldom own their writing. Writing for Hire traces the history of labor relations that defined authorship in film, TV, and advertising in the mid-twentieth century. Catherine L. Fisk examines why strikingly different norms of attribution emerged in these overlapping industries, and she shows how unionizing enabled Hollywood writers to win many authorial rights, while Madison Avenue writers achieved no equivalent recognition. In the 1930s, the practice of employing teams of writers to create copyrighted works became widespread in film studios, radio networks, and ad agencies. Sometimes Hollywood and Madison Avenue employed the same people. Yet the two industries diverged in a crucial way in the 1930s, when screenwriters formed the Writers Guild to represent them in collective negotiations with media companies. Writers Guild members believed they shared the same status as literary authors and fought to have their names attached to their work. They gained binding legal norms relating to ownership and public recognition—norms that eventually carried over into the professional culture of TV production. In advertising, by contrast, no formal norms of public attribution developed. Although some ad writers chafed at their anonymity, their nonunion workplace provided no institutional framework to channel their demands for change. Instead, many rationalized their invisibility as creative workers by embracing a self-conception as well-compensated professionals devoted to the interests of clients.
Author: Patricia F. Phalen
Author: Patricia F. Phalen
Author: Katherine Herbert
Author: John Robert Marlow
Author: Kenneth Atchity
Author: Jennifer M. Lerch
Author: Scott Kirkpatrick
Author: Tony Blake
Author: Thomas Lennon
Author: Catherine L. Fisk
Author: Skip Press