John August

Search Results for: residuals

Do screenwriters get a chunk of foreign TV money?

Film Industry, Go, QandA

questionmarkDo writers ever get a percentage of the substantial profits from the studios’ licensing their films to international TV networks?

— Marilyn Mallory
via imdb

Writers do get a portion of the revenue, in the form of residuals. These payments are roughly analogous to the royalties songwriters and novelists receive, but with some important distinctions. (For clarity, I’m only going to talk about residuals for movies, because residuals for TV shows work a little differently.)

For starters, you don’t get residuals on theatrical release. Whether your movie makes one dollar or one billion at the box office, you don’t get residuals on that. It’s only when the movie shows up in subsequent markets, like home video or television, that you start getting more money.

The formulas for how much money the writer is supposed to get are complicated and contentious, and are often a big issue in negotiations between the WGA (which collects residuals) and the studios (who pay residuals). Even a fraction of a percentage can translate into thousands of dollars for a screenwriter. For example, I’ve made far more money from the residuals on Go than I did for writing and producing it.

Residuals are paid quarterly, and arrive in big green envelopes. It’s always a guessing game how big the checks are going to be: sometimes just a few dollars, sometimes well into six-figures. But it’s always exciting to get money you weren’t quite expecting.

It’s important to explain what residuals aren’t. They’re not “a piece of the back end” in the way that a big movie star gets gross points. Residuals have nothing to how profitable the movie is: you get paid the same per DVD or run on HBO whether the movie is a giant success or a dismal failure. (Of course, a hit movie should sell more DVDs and play more often on television, so in the long run, you’ll come up ahead.)

Organizing reality

Television

Yesterday, the WGA [announced plans](http://www.wga.org/subpage_newsevents.aspx?id=493) to begin organizing writers working on reality television shows. Unlike writers working on traditional dramas or sitcoms, these writers haven’t been covered by the guild, which means they receive no health insurance, no residuals, and no set pay minimums.

As WGAw president Daniel Petrie put it in the press release:

The secret about reality TV isn’t that it’s scripted, which it is; the secret is that reality TV is a 21st-century telecommunications industry sweatshop.

Most readers of this site are familiar with one kind of writing when it comes to film and television. It happens on three-holed paper, with uppercase scene headers and neatly indented blocks for dialogue and parentheticals. But the truth is that much of the work a professional writer does in Hollywood takes on other formats: treatments and beat sheets, outlines and season patterns. Even in non-reality shows, a lot of the writing takes place before you type “FADE IN:”. So it’s a mistake to confuse “unscripted” with “unwritten.”

Many of the people who the WGA would like to organize are currently called producers — which is the norm in television. Be it [The Simpsons](http://imdb.com/title/tt0096697/combined) or [The Sopranos](http://imdb.com/title/tt0141842/combined), many of the writers in television are called producers of some stripe: Executive Producer, Co-EP, Supervising Producer. Despite the title, there’s no doubt they’re writing. Every episode says “written by” or “teleplay by.”

In reality TV, there’s usually no “written by” credit. But it would be a mistake to think there’s no writing.

In addition to the obviously-scripted moments (someone has to tell Jeff Probst what to say), every episode needs writers to figure out what the hell the story is. Yes, video crews will capture the action, and a team of editors at Avids will ultimately cut the footage together, but the decisions about what actually happens in a given episode fall upon the writers, who have to tease plot, character development, comedy and tension out of hundreds of hours of “real life” taking place.

These people are, in fact, organizing reality. Which is why they deserve to be able to organize under the WGA umbrella. You can read more about the situation [here](http://www.wga.org/organizesub.aspx?id=1088).

UPDATE: After reading a note left in the comments section, I don’t want to understate the role editors often have shaping the “what happens” in reality TV. They’re often performing functions that would normally be the purview of writers; the question is, why aren’t they being compensated for it?

[Formatting a reality show proposal](http://johnaugust.com/archives/2004/formatting-a-reality-show-proposal)

Glossary

ACT
A collection of scenes forming one of the main sections of a script. In stage plays and teleplays, acts are explicitly indicated in the script (e.g. "End of Act One"); in features, they are not. One-hour TV dramas are usually broken into four acts, plus a teaser, coinciding with commercial breaks. Half-hour sitcoms fall into into two acts, plus a teaser. Made-for-TV movies are divided into seven acts. Stage plays can have any number of acts. One and two-act plays are common, while Shakespearean dramas often have five acts. Since screenplays never show act breaks, an "act" is really a theoretical concept. Screenwriters talk about three acts, meaning "the beginning," "the middle," and "the end."

ACT BREAK
The end of an act. Generally, it’s a highpoint in the story in which something important occurs that thrusts the audience into the next chapter or stage. In television, an act will end just before a commercial break. In stage musicals, the act break is usually preceded by a big song to keep people humming through intermission.

ANTAGONIST
A major character in a screenplay whose values or behavior conflict with those of the protagonist. Sometimes, the antagonist does not have to be personified, but can be the elements, society, etc.

ASSOCIATE PRODUCER
See the Producer page.

BASE CAMP
During production, the area where most of the trailers are located. Sometimes base camp is several miles away from the set.

BIO-PIC
A film that tells the true story of a historical figure (e.g. A Beautiful Mind, Patton, Nixon).

BUMP
An increase in pay. For a writer, this would come on a new assignment. A writer may deserve a bump for having written a successful movie, gotten a big director attached, or winning a major award.

BUY
To understand and accept the logic of an assertion. “I buy that the hooker didn’t want to call the cops, but I don’t buy she would actually bury the body herself."

BUSINESS
A character’s action during a scene , which is generally not related to the content of the scene itself. “Can we give Rachel some business over by the copier while Joey and Chandler are talking?"

CHARACTER
Essentially, any person in a story who does or says something. It’s the addition of unique and meaningful details that elevates a character beyond purely functional status.

CIRCUS
The Canadian term for "base camp ." (Example: "If you’re going back to the circus, would you get me some coffee?")

CLOSE UP
A shot in which a character or item takes up a large portion of the frame. Often used for dramatic effect or to highlight something the audience should be paying attention to.

CO-EXECUTIVE PRODUCER
See the Producer page.

CO-PRODUCER
See the Producer page.

COPYRIGHT
The legal protection of creative ideas. A writer automatically owns copyright on anything she writes, even without official governmental registration. One exception is works-for-hire, in which the copyright rests with the entity paying for the work. Registering written material with the Writer’s Guild of America (WGA) is not the same as copyright, although it does help prove exactly when something was written.

COURIER
The standard typewriter font in which all screenplays are written. Twelve-point is the proper size. You could use a different font, but you’d look like an amateur.

CUT TO:
In screenwriting, a quick or marked transition from one scene to another. Moving from one scene to another automatically implies a CUT TO:, so you don’t need to use it unless you’re trying to convey a certain pace .

CUTTY
Using many quick edits between shots in a scene , often making the audience feel dizzy. Michael Bay movies tend to be cutty, even in non-action scenes.

DAY PLAYER
A non-star actor who is paid a flat daily rate, generally speaking only a few lines in a film. Characters who appear in only one scene are generally played by day players. This is sometimes a “bump " for an extra who is asked to read a line on-set.

DEVELOPMENT
The lengthy and often painful process in which a screenplay is re-written time and time again to satisfy all those involved with the project, namely studio executives, directors, and cast members. To quote Howard Rodman: “Development is the process of taking the screenplay only you could have written, and turning it into something anyone could have written.

DEVELOPMENT EXECUTIVE
A studio executive who is in charge of shepherding the writer through the “development process," giving them notes and feedback on the script.

DOCU-DRAMA
A film that tells the true story of a historical event (e.g. Schindler’s List, Tora! Tora! Tora!, Gettysburg).

EARNED
The sense that a story moment has come about organically and logically, particularly in terms of character motivation. (“I don’t think you really earned Megan’s decision to give up the baby on page 21.")

EDGY
A term used to describe a story or writing style that is unusually unsettling, exciting, or dark. Everyone claims to want edgy material, but then they end up making generic comedies.

EIGHTH
A unit of a written page, used for production. Script pages are broken down into “eighths of a page," approximately one vertical inch of text. A scene might be listed as 1 1/8th long, which means one page plus one-eighth of the next.

ENTRANCE
A character’s entry into a scene. “The scene is really wonky up until Chandler’s entrance."

ESTABLISHING SHOT
A written description of an exterior location, usually to set up the logistics of a place, rather than a specific story purpose.

EXECUTIVE PRODUCER
See the Producer page.

EXIT
A character’s exit from a scene . “Could we have him exit on Monica’s line instead?"

EXIT LINE
A character’s last line as he or she exits a scene . “I hate Joey’s exit line. Can we do a recall on the hoagie business?"

EXT.
A scene header that tells the reader the following scene takes place outdoors (e.g. EXT. BOB’S DINER – NIGHT).

EXTREME CLOSE UP
A shot in which a character or item takes up the entire frame of film, often used for dramatic effect or to tell the audience that this is important.

EYE CANDY
Something on-screen that is meant to be looked at and ogled, but rarely has anything to do with the development of the story. Examples include big pyrotechnic explosions, cool CG effects and gorgeous alien vistas.

FANTASY SEQUENCE
A scene or sequence that occurs outside the reality of the story, often to visualize a character’s dreams or wishes.

FLASH CUT
A quick edit in which a scene flashes to white before entering the next scene, often used to transition into dream or fantasy sequences .

FLASHBACK
A scene from the past used to explain something happening in the present. See also NON-LINEAR .

FLASHFORWARD
This is a scene from the future that appears out of the linear telling of the story, usually to highlight a dramatic moment.

GENRE
A category of films lumped together based on subject matter, theme or tone. Film genres include action, drama, comedy, horror, noir, musical, mystery, western, thriller, documentary, or science fiction. Many genres then have sub-genres, such as dark comedy, teen comedy, romantic drama, historical drama, sci-fi thriller, or sci-fi horror.

HACK
An unflattering term for a writer or director who carelessly puts together a script or film with little talent or regard for craft or storytelling.

HALF-HOUR
A television term for a comedy that lasts for a half-hour (eg. Friends, Sex and the City, Malcolm in the Middle).

HERO
The main character in a story, who drives the plot, or around whom plot is structured. Often, but not always the protagonist .

IN
The moment or manner the writer begins a particular scene . ("Could we come in later to the party scene, after Rich has eaten atomic goldfish?") See OUT .

INDUSTRY
Short for the film and television industry. At a party: "So, do you work in the industry?"

INT.
A scene header that tells the reader the following scene takes place inside (e.g. INT. BOB’S DINER – NIGHT).

LINE PRODUCER
See the Producer page.

MANUSCRIPT
The typed (as opposed to type-set) version of a novel, as originally submitted to the publisher by an author. Much of the editing and revision of a book takes place at the manuscript stage.

McGUFFIN
Often associated with Hitchcock, PageWise has a good definition: A device or plot element that catches the viewer’s attention or drives the plot. It is generally something that every character is concerned with. The McGuffin is essentially something that the entire story is built around and yet has no real relevance. That is, it’s what the movie says it’s about, even though it really isn’t. In the first Charlie’s Angels, the McGuffin was stolen voice-identification software; in the second, it was Federal Witness Protection List. In both cases, the villain’s real motivation was greed and revenge. In early drafts of Full Throttle, the Angels had to retrieve a glowing vial labelled “McGuffin Industries.”

MEET-CUTE
In romantic comedies, the moment when the destined-to-fall-in-love couple meets for the first time, typically in ironic or unexpected fashion.

MOMENTUM
The inertia within a story as it approaches its climax. "I really feel the five-minute break-dance number is slowing the momentum in the second act ."

MONTAGE
A series of short scenes , often used to show the passing of time, or the process by which something is done. In screenplays, the individual scenes within a montage sometimes don’t use scene headers , but rather list each action on a separate line.

MOTIVATED
When a character’s dialogue or action makes sense based on the information that preceded it. "Monica’s tirade about the dish drainer doesn’t seem properly motivated."

MOTIVATION
The wants, needs and beliefs that drive a character . "I don’t understand the drug lord’s motivation for wanting Salazar dead."

NOIR
A genre of film with a dark or disturbing tone. Noir films are typically thriller or crime stories.

NON-LINEAR
A style of storytelling in which plot does not unfold chronologically (e.g. Go, Pulp Fiction, Rashomon). One or two flashbacks does not make a film non-linear, but an extended flashback might (e.g. Crouching Tiger, Hidden Dragon).

ONE-HOUR
A television term describing a dramatic series that lasts for one-hour (e.g. ER, The West Wing, The Sopranos).

OUT
The moment or manner the writer ends a particular scene . ("Could we find a better out for the dinner party scene?") See IN .

PACING/PACE
The speed at which events unfold within a story. Action scripts are often described as fast-paced, while character dramas can be slow-paced.

POLISH
A small rewrite of a screenplay before it enters production, typically with the goal of smoothing out storylines or spicing up dialogue.

POST
The period after principal photography in which a film is edited, visual effects are completed, sound work is done, and a musical score is laid down, all leading up to the theatrical release.

PREP, PRE-PRODUCTION
The period prior to principal photography in which directors are hired, actors are cast, sets are built, costumes designed, and writers work on polishes.

PRINCIPAL PHOTOGRAPHY
The main period of filming for a movie, lasting days, weeks, or months.

PRODUCER
The person who (in theory) brings together all the elements to make a film. A producer shepherds an idea from scripting through the theatrical release, hiring and firing personnel as needed. The “Best Picture" Oscar goes to them. For information on the different types of producers, see the Producer page.

PROTAGONIST
The central character in a story, generally synonymous with hero . This character drives the plot and is typically changed the most based on what he or she encounters.

QUEST
The journey a hero takes to achieve his goal. Sometimes the quest is literal (take this ring to Mordor; win the cheerleading championship). In other stories, the quest is more abstract (improve the relationship with your brother).

RESIDUALS
Payments made to a film or television writer when his or her work is sold to another venue, such as a feature film sold on DVD, or a network television episode shown in syndication. These fees are negotiated and collected on behalf of the writer by the Writers Guild of America.

REVEAL
The moment in which previously withheld information about characters or plot is unveiled. “Could we move the reveal of Carrie’s father to the end of the first act?"

SCALE
The minimum amount of money a writer must be paid for their work, if the employer has signed a contract with the Writer’s Guild of America (WGA).

SCENE
A unit of story that occurs in one location at one time.

SCENE HEADER
The top of scene , which lists the location, time of day, and whether or not a scene is inside or outside. INT. BOB’S DINER – DAY tells the reader the scene takes place inside Bob’s diner during daylight hours.

SCENE NUMBER
Scripts in pre-production (and thereafter) have each scene numbered to the left and right of the scene header , in order to facilitate production (e.g. “Today we’re going shoot scene 17.") Before this point, most scripts do not number individual scenes .

SCREENPLAY
A script written to be a feature film (or possibly a made-for-television movie).

SCRIPT SUPERVISOR
The on-set person responsible for keeping track of “continuity of filming," ensuring that everything will cut together logically in the editing room. For every take, they make sure the actors repeat the same actions and dialogue. The script supervisor is also responsible for noting which takes of a scene the director prefers.

SET-PIECE
A scene or sequence with escalated stakes and production values, as appropriate to the genre. For instance, in an action film, a set-piece might be helicopter chase amid skyscrapers. In a musical, a set-piece might be a roller-blade dance number. In a high-concept comedy, a set piece might find the claustrophobic hero on an increasingly crowded bus, until he can’t take it anymore. Done right, set-pieces are moments you remember weeks after seeing a movie.

SEQUENCE
A collection of shorter scenes that tell a larger part of the movie (e.g. a car chase, a heist, a prom).

SINGLE-CAMERA
A television show that is shot more like a feature film, using one or two cameras with several setups for each scene , rather than recording all the action from multiple cameras. Most dramas are single-camera; most comedies are three-camera . "Sex and the City" and "Malcolm in the Middle" are examples of comedies that are shot single-camera.

SLOW-MOTION
The appearance of time slowing down, often used to heighten tension. In film, it is achieved in film by shooting at a higher frame rate, such as 48 frames per second rather than 24.

SLUGLINE
In screenwriting, a piece of description placed on its own line, in uppercase letters, to signify its importance in the scene . Often used to break longer scenes into manageable chunks.

SPLIT-SCREEN
A shot that is “cut" down the middle of a frame to illustrate action happening at the same time, but in two different locations.

STUDIO
In film, a company that finances, produces, markets and distributes motion pictures. Major American studios include Columbia, Universal, DreamWorks, Paramount, Warner Bros., MGM and Disney. In television, a company that finances and produces television shows. The marketing and distribution is handled by the network, which may or may not be related to the studio.

SUB-RIGHTS
The division of a publisher one calls to find out who owns all underlying rights to a creative property, be it a magazine article, novel or other written material.

TELEPLAY
A script written specifically for television.

TENTPOLE
A major motion picture, generally released in the summer or Christmas season, which is the primary focus of a studio’s marketing attention. The term comes from this analogy: if the tentpole fails, everything will collapse around it.

THREE-CAMERA
In television, the format of most situation comedies. Scenes are filmed in their entirety by multiple cameras in front of a live audience.

TRACKING
In regards to feature films, the process of measuring a soon-to-be-released film’s popularity within the general public. Tracking allows a studio to know whether or not a film’s marketing is effectively reaching the target audience. In regards to screenplays, the process of checking the internal logic of the plot. “Something about the HALO rings just isn’t tracking." In regards to development , the sharing of information between development executives about what screenplays are coming onto the market.

TRANSITION
The movement from one scene to the next. It can be as simple as a cut, or more dramatic such as a dissolve, fade out, fade in, etc.

VIDEO VILLAGE
On-set, the bank of monitors where a director watches what is being filmed. Generally, the script supervisor , director of photography and producers are also huddled around video village.

VILLAIN
The hero’s primary opponent in the movie, who must be defeated in order for the hero to succeed.

WE’RE-NOT-IN-KANSAS-ANYMORE
The moment, generally at the end of the first act , in which characters recognize their dilemma or setting has suddenly changed (generally for the worse).

WONKY
A moment that feels out-of-place or forced. “There’s something really wonky about how we get to the car chase."

WORST-OF-THE-WORST
The moment in the story, generally at the end of the second act , when things are at their absolute worst for the hero , and all hope seems lost. In an action movie, the hero’s plan to defuse the bomb may have failed. In a buddy comedy, the two friends may have gone their separate ways. In a romantic comedy, the guy and the girl aren’t speaking, and she’s about to marry the rich jerk. Even movies that don’t have a classic three-act structure tend to have a worst-of-the-worst, if only to allow the hero one last obstacle to overcome.