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QandA

Authors’ Guild vs. Kindle

February 26, 2009 Books, Follow Up, Rights and Copyright

Cory Doctorow makes [many of the points](http://www.boingboing.net/2009/02/25/authors-guild-vs-rea.html) I would about the Authors’ Guild’s grumpiness over the Kindle’s text-to-speech function:

> Continuing to take Blount at his word, let’s assume that he’s right on the copyright question, namely, that:

> 1) Converting text to speech infringes copyright

> 2) Providing the software that is capable of committing copyright infringement makes you liable for copyright infringement, too

> 1) is going to be sticky — the Author’s Guild is setting itself up to fight the World Blind Union, phone makers, free software authors, ebook makers, and a whole host of people engaged in teaching computers to talk.

> But 2 is really hairy. If Blount believes that making a device capable of infringing copyright is the same as infringing copyright (something refuted by the Supreme Court in Betamax in 1984, the decision that legalized VCRs), then email, web-browsers, computers, photocopiers, cameras, and typewriters are all illegal, too.

That said, a colleague of mine made a good point: It’s sort of the Authors’ Guild’s job to stir the pot. They might be wrong — they might know they’re wrong — but it’s important to have a group trumpeting the issues of concern to their members.

I think the potential win here will be for Amazon and authors/publishers to find well-priced ways to bundle the text and (real, professional) audiobook versions. I’ve never bought an audiobook, but would consider it if the premium weren’t too high.

Script to greenlight panel

February 25, 2009 Film Industry, WGA

The WGA is hosting a [panel discussion](http://artfulwriter.com/?p=748) on studio feature development that should be worth checking out:

> Panelists include:

> * screenwriter Jonathan Hensleigh (Armageddon, The Punisher, The Rock)
> * JC Spink from BenderSpink management
> * development executive Navid McIlhargey (Sr. VP of Production at New Regency; previously of Silver Pictures)
> * producer Derek Dauchy (President of Davis Entertainment)
> * studio executive David Beaubaire (VP of Production at Paramount; previously studio executive of DreamWorks and Warner Brothers – he knows how each works)
> * and a Surprise Guest.

(No, I’m not the surprise guest.)

It’s hosted by the WGA Writers Education Committee, and open to WGA members in good standing (plus a guest).

Thursday, February 26, 7:30 p.m.
WGA Theater
135 S. Doheny Dr., Beverly Hills

You need to RSVP: (323) 782-4602.

When writing teams break up

February 21, 2009 Psych 101, QandA, Rights and Copyright

questionmarkI recently parted ways with a writing partner, and while untangling the issue of who gets to keep what material, a nagging issue has surfaced, to which I cannot find a satisfactory answer.

I decided I wanted to go ahead and complete a script we had both outline, but the premise of which was his. I contacted him, and after discussion, I changed my mind. However, I decided to use only a single character from the script we had outline (and only the basic character outline, such as “prison guard” or “starship captain.” I devised an entirely new premise, dependent not all upon his initial story.

My ex-partner informed me I could not use such a character in my piece without some type of concession on his behalf. Is this true?

— Anthony
Eagle Rock

It’s “true” in the sense that he won’t be satisfied. Both of you think that something about this character has value, even though it’s purely speculative at this point.

Without knowing the specifics — and both sides of the story — I can’t offer any strong opinions on the legal or ethical issues involved here. But from a practical perspective, if you try to write this story that has some connection to the work you did together, you’re going to be dealing with this pissed-off person (or the chance this pissed-off person will reappear) for a long time.

My advice: Figure out what it is about this story/character/world that intrigues you. Then come up with something wholly your own that scratches the same itch. Maybe you think you’ve done that with your new story, but you wouldn’t be writing in if that were the case.

Can I go beyond DAY and NIGHT?

February 20, 2009 Formatting, QandA, Words on the page

questionmarkIs there a hard and fast rule for first time screenwriters correctly writing their slug lines? I understand that it is for the production people to know WHERE and WHEN to shoot the scene. But I’ve also been told on the boards of quite a few screenwriting forums by supposed professionals, that it is NOT part of your story and so you only ever write DAY or NIGHT.

I’m told that if you want readers to know it’s foggy or stormy you tell them as “part of the story” in the action lines below. Yet in many of the spec scripts I’ve seen online, writers use CONTINUOUS, SAME, LATER etc in their slugs. Is it only solicited writers who’ve already been green lighted for production that have the privilege of writing beyond the binary of DAY or NIGHT? I find that hard to believe this when software like Final Draft allows you to be more expressive in your slugs, and still, I’m continually told otherwise.

It would be much appreciated if you could clear up this issue that has confused, infuriated and made me less confident in my writing now for far too long. I’m sure I’m not the only one.

— Tim
Ischia, Italy

Sluglines are there to help production, but they also help readers. If venturing slightly beyond the confines of DAY or NIGHT makes the read easier, do it.

All of the following are legit:

INT. HOUSE – DAY

INT. CABIN – NIGHT

EXT. FOREST – DAWN

EXT. SPACE

EXT. PARKING LOT – NIGHT [RAINING]

INT. BOWLING ALLEY – NIGHT [FLASHBACK]

The first two are obvious and standard.

DAWN is okay, as long as there really is a reason the scene needs to be taking place close to sunrise, rather than just general DAY. For example, if you were following characters through a string of harrowing night scenes, and they bunkered down in an abandoned railway car, it might be important to really note when it’s dawn again. Same case for DUSK or SUNSET. In a vampire movie, that could be crucial.

Space has no day or night. Generally in science fiction there is a sense of what “day” and “night” feel like, however. So feel free to use it on a spaceship, for example, to indicate the daily routines.

I use brackets at the end of a slugline to highlight special conditions. Rain is a big deal, both for story and production purposes. And flagging a scene as a flashback helps both readers and assistant directors.

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