Any work you’re not getting paid for should be yours and yours alone. That’s why aspiring screenwriters write spec scripts. That’s what you should focus on writing. Still, there may be situations in which it makes sense to write a script for someone else without getting paid.
When a novel is adapted into a film or television series, how does compensation to the writer of the original novel work?
You’re naturally going to be drawn towards real-life people who are fascinating. That’s a good thing. Observe behavior. Figure out motivations and pathology. Then forget the real person.
Producers and production companies aren’t necessarily going to be excited that someone else had the project before them. Yes, it validates their taste a bit, but they may worry that the script has already been burned out around town. If everyone has read it and passed, what are they going to do with it, exactly?
Chris works as an assistant at a studio? Do they own anything he writes?
ScriptShadow reviews scripts to upcoming movies. And that hurts screenwriters more than anyone.
No! Stop and re-assess. There are at least three options, but simply stealing the plot and characters isn’t one of them.
A reader asks if a planned DVD crosses into dangerous copyright territory.
Screenplays don’t cite references because they don’t quote things.
Yes, you can have characters talk about people like Michael Bay without getting permission.
Cory Doctorow makes many of the points I would about the Authors’ Guild’s grumpiness over the Kindle’s text-to-speech function.
Don’t just think about who “owns” what. There are more practical considerations.
Explorations of ownership in a corporate environment.
Killing backstories, writing out lyrics and why you will always want to be writing something else (amongst other topics), explored.
Steps a publisher can take to offer up properties to moviemakers.
If it’s you and a buddy with a tiny camera, should you really have to register with a governmental agency? I say no.
An episode of Grey’s Anatomy might have the same title as your spec. That’s not even close to being plagiarism.
Easy steps to tracking down rights.
If this sounds like you, stop reading and start dialing. You need a better attorney, stat.
Let’s say you’re at work and you overhear some great dialogue. Should you worry about co-workers suing when they hear it in your movie?
Do you need signed legal permission to use a friend’s name in a script?
Clearing (and not worrying about) brands, artwork and monikers for your movie.
Link to a great legal resource for filmmakers concerned with portraying reality.
How to deal when your situations and characters are based on real incidents and people.
Legal and moral issues arise when taking someone else’s story, even just pieces of it.