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Screenwriting for profit : writing for the global marketplace /
"This book teaches readers how global trends define the marketplace for saleable screenplays in key international territories as well as the domestic market. Veteran writer, producer, and director Andrew Stevens gives you the insider edge you need to write for the globalmarketplace, sharing his...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
New York, NY :
Routledge,
2017.
|
| Temas: | |
| Acceso en línea: | Texto completo (Requiere registro previo con correo institucional) |
MARC
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| 100 | 1 | |a Stevens, Andrew, |d 1955- |e author. | |
| 245 | 1 | 0 | |a Screenwriting for profit : |b writing for the global marketplace / |c Andrew Stevens. |
| 264 | 1 | |a New York, NY : |b Routledge, |c 2017. | |
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| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Understanding the Global Marketplace -- Shelf Life -- Studio Films -- Distribution Costs -- Independent Films -- Understanding Sales Agents -- Sales Agents' Responsibility to Buyers -- How Films Are Bought and Sold -- Film Markets -- Film Festivals -- Term -- Rights -- Territory -- Buyers -- How Sales Are Documented -- Sales Agents' Contracts -- Buyers' Reps -- Producers' Reps -- North America -- Market Value Is Critical for Screenwriters to Understand -- The Market-Savvy Screenwriter -- Other Ways of Gathering Trending Information -- Legal Contracts -- Global Research and Tracking -- Advocacy Efforts -- The American Film Market Seminars and Conferences -- Financing -- AFM-Pitch Me Your Script -- Benefits of Attending Film Markets -- A Writer's Goal While Attending the AFM -- Get in Touch With the Marketplace -- How to Navigate the AFM -- The American Film Market and Connections for Screenwriters -- Juries -- Selection Classifications -- Events | |
| 505 | 8 | |a Where Film Sales Happen -- Pre-Sale Marketing -- Trends + Analysis = Profit -- The Necessity of Developing Screenplays -- Key Territories and Associated Challenges -- Second Level of Sell -- Know Before You Write -- Understanding Territorial Desires and Why -- Genre Beats and Running Times -- An Example of Developing a Script Based on Market Desires -- A Catchy Title -- Working With the Department of Defense -- Development Recap -- The Creative Challenge -- Writer Wannabes vs. Career Professionals -- Anomalies -- Buyer and Sellers: Screenwriters Are Sellers -- The Creative Process in the Real World -- The Cognizant Writer -- Study the Market and Ask Questions -- Pay Attention to What Is Selling -- Success Breeds Success -- Apply What You Learn -- Pre-Determined Profit -- The Market Often Dictates Stop), Structure -- Organic Integration and Running Time -- Importance of the Second Level of Sell in Multiple Genres | |
| 505 | 8 | |a Directors as Well as Writers Need Market Awareness -- The Trend Shifted and New Media Emerged -- The Historical Evolution of Audio-Visual Media -- Filmmaking and Emerging Media -- New Media and Distribution Platforms -- Marketing Challenges in New Media -- Attracting Distribution -- Star Name Recognition Helps -- Writers Should Be Aware of the Fiscal Realities of Distribution -- Visual Concepts -- Sales Campaigns -- Marketing via Digital Platforms -- Niche Marketing-Identifying the Target Audience for Your Story -- Building Awareness for Your Film -- Three-Act Structure -- Act Structure for Television Films -- The Syd Field Paradigm -- The Prologue -- Entrance and Exit of Major Characters -- Scenes -- Word of Mouth Scenes -- Memorable Lines -- Plant and Pay-Off -- Exposition -- Inspiration -- Draw From the World Around You -- Sequels -- Remakes -- Most Screenplays Lack Depth of Character -- Personalization | |
| 505 | 8 | |a Transference or Substitution and Sense Memories -- Synergy of Writers and Actors -- A Personalization Exercise for Writers -- An Example of an Actor's Backstory -- An Actor's Prep for a Television Pilot and Series -- An Example of an Actor's Timeline -- Preserving the Writer's Intent -- Some Actors With Power Have No Regard for a Writer's Words -- The World Before Final Draft -- Two Sample Writer's Character Breakdowns -- Examination of Character Breakdowns -- Archetypes -- The Four Basic Archetypes -- Weaknesses, Needs, and Super Objectives -- Physical Description (Physiology) -- Sociology -- Psychology -- Use What Works for You -- The Writer/Director -- Criteria and Process of a Film Director -- Writers Rewritten -- It All Starts With the Script -- Directors' Preparation Techniques -- Suggested Criteria for Being a Successful Film Director -- Assimilating How the Business Works -- Certain Writers for Certain Projects | |
| 505 | 8 | |a The Business Changes, but the Paradigm Remains the Same -- What a Producer Looks for in a Screenplay -- A Producer Isn't a Producer Without a Script -- An Example of a Malleable Writer -- Night Exteriors -- Limit Locations and Company Moves -- Limit Speaking Roles -- Working With Minors -- Working With Animals -- Residuals -- An Example of When Theatrical Film Residuals Become Due for Various Media -- Reduce or Eliminate Distant Locations -- Reduce the Number of Shooting Days -- Rethink and Modify Costly Sequences -- Recap -- Equity Financing -- Self-Financing -- Bank Financing -- Completion Guarantors -- Limited Partnerships -- Pitching a Deal to Equity Investors Is Like Pitching a Script -- Social Media and Crowdfunding -- Grants -- Subsidies -- Subsidies: Too Good to Be True? -- Multiple Source Financing -- Content Is Dictated by the Coaches and Fans -- Literary Development -- Television Development -- Studio Development -- Independent Development | |
| 505 | 8 | |a Readers -- Post-Production Storytelling -- National Research Group -- Gathering Information From Demographic Groups -- Avoiding Major Competition -- Declining Audience Share -- The Tent Pole Danger Zone -- Calculating Audience Share -- Audiences Can Dictate Editorial Cuts of Films -- Current NRG Screening Challenges -- Altered Content -- Comic-Con -- Millennials -- Netflix -- Amazon Studios -- Amazon Prime -- Hulu and Hulu Plus -- YouTube -- YouTube Red -- Writing for Independent Companies -- Writers' Agreements -- Written Agreements Are Essential -- Union and Non-Union Rates -- WGA Low-Budget Rate Tiers and Fees -- Rewrites on Spec Scripts -- Restrictions, Obligations, and Penalties to a Producer or Production Company -- Revision of the Screenplay -- Initial Release in a Non-Theatrical Market -- Reports -- Cost Report -- Right to Audit -- Minimum Terms -- P & W Contributions and Residuals -- Practical Contrast of Union vs. Non-Union | |
| 505 | 8 | |a Union Overview From an Independent Perspective -- Ideas vs. Stories -- WGA Registration -- Copyrights -- The Library of Congress -- Steps to Registering a Copyright -- Underlying Source Material -- Chain of Title -- Example of Chain of Title -- Sample Non-Disclosure Agreement -- Non-Circumvention Agreements -- Sample Mutual Non-Circumvention, Confidentiality Agreement -- Query Letters -- Steps fir Constructing a Query Letter -- Real Examples of Bad Query Letters -- Samples of Query Letters That Got My Attention -- What If I Don't Get a Response From My Query Letter? -- Alternatives to Query Letters -- Submission Release -- Sample Submission Release Form -- A Real Lift Illustration of Why Producers and Studios Protect Themselves From Litigation -- Personal Presentation -- Getting the Job: The 7 Keys. | |
| 520 | |a "This book teaches readers how global trends define the marketplace for saleable screenplays in key international territories as well as the domestic market. Veteran writer, producer, and director Andrew Stevens gives you the insider edge you need to write for the globalmarketplace, sharing his decades of experience producing and financing everything from micro-budget independent films to major studio releases. In leveraging Stevens' comprehensive experience, you will learn how to determine specific subject matter, genre, and story elements to make the most of international sales trends, and harness the power of these insider strategies to craft a screenplay that is poised to sell"--Provided by publisher. | ||
| 590 | |a O'Reilly |b O'Reilly Online Learning: Academic/Public Library Edition | ||
| 650 | 0 | |a Motion picture authorship. | |
| 650 | 0 | |a Motion picture authorship |v Vocational guidance. | |
| 650 | 6 | |a Cinéma |x Art d'écrire. | |
| 650 | 7 | |a LANGUAGE ARTS & DISCIPLINES |x Composition & Creative Writing. |2 bisacsh | |
| 650 | 7 | |a PERFORMING ARTS |x Screenplays. |2 bisacsh | |
| 650 | 7 | |a Motion picture authorship. |2 fast |0 (OCoLC)fst01027122 | |
| 776 | 0 | 8 | |i Print version: |a Stevens, Andrew, 1955- |t Screenwriting for profit. |d New York, NY : Routledge, 2017 |z 9781138950627 |w (DLC) 2016057923 |w (OCoLC)982184664 |
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