Editing Screenwriting (section)

==Types==
The act of screenwriting takes many forms across the entertainment industry. Often, multiple writers work on the same script at different stages of [[Script development|development]] with different tasks. Over the course of a successful career, a screenwriter might be hired to write in a wide variety of roles.

Some of the most common forms of screenwriting jobs include:

===Spec script writing===
[[Spec script]]s are feature film or [[Television program|television show]] scripts written without the commission of, but is on speculation of sale to a [[film studio]], [[production company]], or TV network. The content is usually invented solely by the screenwriter, however spec screenplays can also be based on established works or real people and events. The spec script is a Hollywood sales tool with the vast majority of scripts written each year are spec scripts, but only a small percentage make it to the screen.<ref>[http://www.seattlepi.com/movies/267279_screenplay07.html The Great American Screenplay now fuels wannabe authors<!-- Bot generated title -->]{{Dead link|date=October 2022 |bot=InternetArchiveBot |fix-attempted=yes}} from seattlepi.nwsource.com</ref> Though a spec script is usually a wholly original work, it can also be an [[Film adaptation|adaptation]].

In television writing, a spec script is a sample [[teleplay]] written to demonstrate the writer's knowledge of a show and ability to imitate its style and conventions. It is submitted to the show's producers in hopes of being hired to write future episodes of the show. Budding screenwriters attempting to break into the business generally begin by writing one or more spec scripts.

Although writing spec scripts is part of any writer's career, the [[Writers Guild of America]] forbids members to write "on speculation". The distinction is that a spec script is written as a sample by the writer on his or her own; what is forbidden is writing a script for a specific producer without a contract. In addition to writing a script on speculation, it is generally not advised to write camera angles or other directional terminology, as these are likely to be ignored. A director may write up a [[shooting script]] themselves, a script that guides the team in what to do in order to carry out the director's vision of how the script should look. The director may ask the original writer to co-write it with them or to rewrite a script that satisfies both the director and producer of the film/TV show.

Spec writing is also unique in that the writer must pitch the idea to producers. In order to sell the script, it must have an excellent title, good writing, and a great [[Log line|logline]], laying out what the movie is about. A well-written logline will convey the tone of the film, introduce the main character, and touch on the primary conflict. Usually the logline and title work in tandem to draw people in, and it is highly suggested to incorporate irony into them when possible. These things, along with nice, clean writing will hugely impact whether or not a producer picks up a spec script.

=== Commission ===
A commissioned screenplay is written by a hired writer. The concept is usually developed long before the screenwriter is brought on, and often has multiple writers work on it before the script is given a [[Green-light|green light]]. The plot development is usually based on highly successful novels, plays, TV shows, and even video games, and the rights to which have been legally acquired.

===Feature assignment writing===
Scripts written on assignment are screenplays created under contract with a [[Movie studio|studio]], production company, or producer. These are the most common assignments sought after in screenwriting. A screenwriter can get an assignment either exclusively or from "open" assignments. A screenwriter can also be approached and offered an assignment. Assignment scripts are generally adaptations of an existing idea or property owned by the hiring company,<ref>Lydia Willen and Joan Willen, ''How to Sell your Screenplay'', pg 242. Square One Publishers, 2001.</ref> but can also be original works based on a concept created by the writer or producer.

===Rewriting and script doctoring===
Most produced films are rewritten to some extent during the development process. Frequently, they are not rewritten by the original writer of the script.<ref>Skip Press, ''The Ultimate Writer's Guide to Hollywood'', pg xiii. Barnes and Noble Books, 2004.</ref> Many established screenwriters, as well as new writers whose work shows promise but lacks marketability, make their living rewriting scripts.

When a script's central premise or characters are good but the script is otherwise unusable, a different writer or team of writers is contracted to do an entirely new draft, often referred to as a "page one rewrite". {{anchor|polish}}When only small problems remain, such as bad dialogue or poor humor, a writer is hired to do a "polish" or "punch-up".

Depending on the size of the new writer's contributions, [[screen credit]] may or may not be given. For instance, in the American film industry, credit to rewriters is given only if 50% or more of the script is substantially changed.<ref>[http://www.wga.org/subpage_writersresources.aspx?id=171-screen credits policy<!-- Bot generated title -->]{{dead link|date=December 2017 |bot=InternetArchiveBot |fix-attempted=yes}} from wga.org</ref> These standards can make it difficult to establish the identity and number of screenwriters who contributed to a film's creation.

When established writers are called in to rewrite portions of a script late in the development process, they are commonly referred to as [[script doctor]]s. Prominent script doctors include Christopher Keane, [[Steve Zaillian]], [[William Goldman]], [[Robert Towne]], [[Mort Nathan]], [[Quentin Tarantino]], [[Carrie Fisher]], and Peter Russell.<ref>{{Cite web |last=Setoodeh |first=Ramin |date=2008-12-18 |title=Turning Point: Carrie Fisher's Latest Star Turn |url=https://www.newsweek.com/turning-point-carrie-fishers-latest-star-turn-83217 |access-date=2024-06-20 |website=Newsweek |language=en}}</ref><ref>Virginia Wright Wetman. "Success Has 1,000 Fathers (So Do Films)". ''[[The New York Times]]''. May 28, 1995. Arts section, p.16.</ref> Many up-and-coming screenwriters work as ghostwriters.{{citation needed|date=July 2017}}

===Television writing===
A freelance television writer typically uses spec scripts or previous credits and reputation to obtain a contract to write one or more episodes for an existing television show. After an episode is submitted, rewriting or polishing may be required.

A staff writer for a TV show generally works in-house, writing and rewriting episodes. Staff writers&mdash;often given other titles, such as [[story editor]] or [[Television producer|producer]]&mdash;work both as a group and individually on episode scripts to maintain the show's tone, style, characters, and plots.<ref>[http://www.tvwriter.com/faq/faq.htm TV Writer.com<!-- Bot generated title -->] {{webarchive|url=https://web.archive.org/web/20070929034952/http://www.tvwriter.com/faq/faq.htm |date=2007-09-29 }} from tvwriter.com</ref>  Serialized television series will typically have a basic premise and setting that creates a story engine that can drive individual episodes, subplots, and developments.<ref>{{Cite web |url=https://screencraft.org/blog/what-is-a-story-engine-and-how-can-it-help-your-tv-pilot/ |title=What is a Story Engine and How Can it Help Your TV Pilot |date=2024-01-17 |accessdate=2024-05-19 |language=en-US |first=Shanee |last=Edwards}}</ref>

Television show creators write the [[television pilot]] and [[Bible (screenwriting)|bible]] of new television series. They are responsible for creating and managing all aspects of a show's characters, style, and plots. Frequently, a creator remains responsible for the show's day-to-day creative decisions throughout the series run as [[showrunner]], [[head writer]], or story editor.

====Writing for daily series====
The process of writing for [[soap opera]]s and [[telenovela]]s is different from that used by [[prime time]] shows, due in part to the need to produce new episodes five days a week for several months. In one example cited by [[Jane Espenson]], screenwriting is a "sort of three-tiered system":<ref name="jane">[http://www.janeespenson.com/archives/00000588.php 08/13/2008: Soapy Scenes] {{Webarchive|url=https://web.archive.org/web/20081017045312/http://www.janeespenson.com/archives/00000588.php |date=2008-10-17 }}, from "Jane in Progress" a blog for aspiring screenwriters by Jane Espenson</ref>
:a few top writers craft the overall [[story arc]]s. Mid-level writers work with them to turn those arcs into things that look a lot like traditional episode outlines, and an array of writers below that (who do not even have to be local to Los Angeles), take those outlines and quickly generate the dialogue while adhering slavishly to the outlines.

Espenson notes that a recent trend has been to eliminate the role of the mid-level writer, relying on the senior writers to do rough outlines and giving the other writers a bit more freedom. Regardless, when the finished scripts are sent to the top writers, the latter do a final round of rewrites. Espenson also notes that a show that airs daily, with characters who have decades of history behind their voices, necessitates a writing staff without the distinctive voice that can sometimes be present in prime-time series.<ref name="jane"/>

====Writing for game shows====

Game shows feature live contestants, but still use a team of writers as part of a specific format.<ref name="WGA">{{Cite web |url=http://www.wga.org/content/default.aspx?id=2630 |title=05/15/2010: Writers Guild of America, Reality & Game Show Writers |access-date=2010-05-16 |archive-date=2010-05-05 |archive-url=https://web.archive.org/web/20100505081131/http://www.wga.org/content/default.aspx?id=2630 |url-status=live}}</ref> This may involve the slate of questions and even specific phrasing or dialogue on the part of the host. Writers may not script the dialogue used by the contestants, but they work with the producers to create the actions, scenarios, and sequence of events that support the game show's concept.

===Video game writing===
{{Main|Video game writing}}
With the continued development and increased complexity of video games, many opportunities are available to employ screenwriters in the field of [[video game design]]. Video game writers work closely with the other game designers to create characters, scenarios, and dialogue.<ref>Skip Press, ''The Ultimate Writer's Guide to Hollywood'', p207. Barnes and Noble Books, 2004.</ref>