By this memorandum of understanding, signed this DATE; both the parties
described herein under as, represented by CLIENT’S NAME of CLIENT’S ADDRESS,
phone number CLIENT’S PHONE NUMBER, also described as the ‘client’; and
SCREENPLAY WRITER’S NAME, SCREENWRITER’S ADDRESS, phone number SCREENWRITER’S
PHONE NUMBER, also described as ‘screenplay writer, do hereby agree to all the
terms described and given below:
1. CLIENT’S NAME is commissioning screenwriter SCREENPLAY WRITER’S NAME
to begin the project of writing the screenplay of a (approx) NO. OF MINUTES
minutes long feature film.
2. The tentative working title of the film shall be ‘NAME OF MOVIE. This
title is subject to change.
3. The deadline for completion of this screenplay is NUMBER OF DAYS days
after the signing of this agreement.
4. CLIENT’S NAMEagrees to pay
SCREENPLAY WRITER’S NAME a consolidated sum of TOTAL FEE AMOUNTfor the project that will include the following:
a. Writing the screenplay on the story/treatment laid down by CLIENT’S
NAME .
b. Editing it thoroughly before submission., so that the final version is
free from errors like spelling and grammar errors, and typos.
5. The fees of the screenplay writer will be paid as follows:
a. 1/3 as advance to get the project started.
b. 1/3 after 40% work submission.
c. The remaining 1/3 fees will be paid on 80% work submission and
approval.
6. SCREENPLAY WRITER’S NAME is subject to NO royalty or commission on the
sale or business from the screenplay. He is only entitled to the one time
project fees of TOTAL FEE AMOUNT.
7. SCREENPLAY WRITER’S NAME (screenplay writer) will maintain full
confidentiality and secrecy about this project. At no point during the project
will he reveal any idea or concept of the film, to anyone, in any form; even if
this contract gets terminated at any point during the project.
8. If SCREENPLAY WRITER’S NAME is unable to complete the project for some
reason, he will convey that in writing as email as soon as possible. In that
case he will be entitled to a payment which is proportionate to the amount of
work he has completed; subject to approval from the client.
9. The screenplay will be 100 – 120 pages in length.
10. The screenplay writer will get credit for his/her contribution to the
film.
11. SCREENPLAY WRITER’S NAME agrees that he will not take the help of any
plagiarism, meaning he will avoid using borrowed material in this screenplay
exactly as they are found elsewhere.
12. SCREENPLAY WRITER’S NAME agrees to do necessary coordination with the
director or any other person or persons referred by the client, for proper
shaping up of the project if necessary.
13. CLIENT’S NAME will own all copyrights for this screenplay.
14. CLIENT’S NAME will have full freedom to deal with any filmmaker,
producer or agent. SCREENPLAY WRITER’S NAME will have no say on these matters.
15. CLIENT’S NAME can request SCREENPLAY WRITER’S NAME to make a
reasonable number of changes and edits during the period of production of this
screenplay and within 1 month of completion and submission of the screenplay.
16. Any disputes arising between the parties related to this contract and
project will be settled by courts in NAME OF YOUR CITY.
Both the parties do hereby agree to the terms laid and set above.
Screenplays can be written either on "spec" (speculative) or as
assignment ("Commissioned"). The Variety slanguage dictionary defines
"spec script" as "a script shopped or sold on the open market,
as opposed to one commissioned by a studio or production company."
Writing on assignment
Assignments are commissioned by production companies or studios on the
basis of pitches from producers or writers, or literary properties they already
own. Most established writers do most of their work on assignment and will only
"spec" scripts which they think no-one will pay them to write, or if
they cannot find assignment work.
There are exceptions: some very famous writers only write on spec because
they know that they can get a better price for their work this way. Other
writers spec scripts that they care deeply about so that they do not have to
bend to the whims of executives and producers.
An assignment may be for an original screenplay, or for an adapted
screenplay based on another work such as a novel, film, short story, comic
book, magazine article or, increasingly, video game. It may also, however, be
for a rewrite of an existing script, and in fact this is how a large proportion
of writers in the modern studio system make their living. Rewriting scripts is
an art in itself and an extremely lucrative one at that: it is not unknown for
trusted writers in the higher echelons of the industry to receive $200,000 a
week (2004 numbers) for their efforts. $50,000 per week is not uncommon.
Rewriting is difficult because executives often have very clear ideas
about what is wrong with a script, however, they are usually unable to provide
detailed prescriptions for ways it can be fixed. This is not surprising,
because screenwriting is not the expertise of the executive, but of the
screenwriter. The writer is therefore usually expected to come up with a
detailed prescription for how the script can be improved, and then execute this
in a timely fashion. During the process of choosing a writer to rewrite a
script the executives may ask several writers for their 'take' and choose the
one who appears to have the greatest likelihood of moving the script forward to
the point where it may be greenlit for production.
Before 'going to script' a writer may be asked to write a treatment, an
outline, or a step outline describing the script in various granularities of
detail. Some writers resist this process and will do anything to avoid it and
get down the writing the script itself; others embrace the process and even
deliver fairly elaborate treatments, the so-called scriptments. It is fair to
say that producers tend to be wary of the former and pleasantly surprised by
the latter.
Spec scripts
Many Spec scripts (short for speculative) are written independently by
screenwriters in hopes of optioning and eventually outright selling them to
producers or studios. Other spec scripts are written by writer-directors who
plan to direct the film themselves. Many so-called "arthouse" films
fall into this latter category, whereas the former category tends to be filled
with "high concept" scripts - mostly action or comedy, to which a
star or A-list director can be attached. However, most of the hundreds of
thousands of spec scripts penned each year are written by unknowns who are
trying to attract attention and find it difficult to generate the kind of
“buzz” that more established scribes count on to sell their scripts. (See the
screenwriting documentary Dreams on Spec.)
Script costs
Script costs can include adaptation rights, but often story rights are
listed separately in the development section of a budget.
The cost of screenplays varies enormously, and there are often many
different writers involved, some of which are uncredited. For example, Quentin
Tarantino did uncredited rewrites for Silver Surfer and It's Pat (see Jami
Berhard's Quentin Tarantino: The Man and His Movies).
Jurassic Park was adapted by the book's author, Michael Crichton, for a
large undisclosed sum. His salary for Twister was 2.5 million, but there were
many writers involved, not just him.
Out of a $72 million budget for the film Signs, writer-director M. Night
Shyamalan was paid $5 million, most of which were however license fees for the
story rights. For the film The Village (total budget: $71 million) Shyamalan
received $327,500 for all writing costs including the screenplay fees for his
production company Blinding Edge Pictures and costs for materials, supplies,
script duplication as well as fringes. An additional $7.2 million were paid to
Shyamalan for the story rights, almost three times the amount Shyamalan earned
for his work as producer and director on the film.
Although the highest paid names are stars and directors and sometimes
novelists who get their novel adapted, a good screenwriter can command - and is
worth - a large salary.
Total script costs can easily be ten percent of the film's budget but,
like other areas of a film, unless the writer is a star, it is unlikely for a
big budget film to spend more than 5% in the script department.
For a movie with a script budget of $500,000 that is not an adaptation,
written on assignment, the payments might break down as follows (referred to as
"300,000 against 500,000"):
•First draft: $150,000
•First draft revisions:
$50,000
•Second draft: $75,000
•Second draft revisions:
$25,000
•Production bonus:
$200,000
The first four payments are paid half on commencement of the writing step
and half on completion. The final payment, the production bonus, is paid only
if the script goes into production and becomes due on the first day of
principal photography. If a script is approved for production before all the
steps have been completed, the production bonus could be bigger. This means
there may be an incentive for the writer not to drag out the process.
The development process
Once a studio has purchased or commissioned a script, it goes through the
process of revisions and rewriting until all stakeholders are satisfied and
ready to proceed. It is not uncommon for a script to go through many, many
drafts on its journey to production. Very few scripts improve steadily with
each draft, and when a certain avenue has been exhausted the writer will often
be replaced and another brought in to do a rewrite.
Occasionally it becomes impossible to satisfy all such parties, and the
project enters development hell. If a studio decides it does not wish to
proceed to production with the script, the project enters 'turnaround'. Another
studio may purchase the script from its original owner, but the script is
encumbered with the development costs the studio has already incurred. At a
certain point, it may simply be uneconomic for anyone to purchase the script,
even if it is a very good one. This goes part of the way to explaining why some
of the best scripts in Hollywood remain unproduced.
The shooting script
Once a script has been approved for production, camera directions and
notes may be inserted by the Director, and each scene is assigned a number to
provide a convenient way for the various production departments to reference
individual scenes. When a scene is omitted, its number is retained labeled with
"OMITTED", so that it won't be assigned to any newly added scenes.
When the shooting script is distributed, its pages are locked, meaning
that any subsequent revisions will apply to the first set of revision pages.
When revisions are distributed, the pages are swapped into the outstanding
drafts, and the script is once again locked. The process is repeated for each
new round of revisions.
Each round of revisions is distributed on different colored paper. The
progression of colors varies from one production to the next. Since rewrites
often continue throughout principal photography, most shooting scripts evolve
into a rainbow of gold, pink, blue, green and cherry pages.
Transcripts
A screenplay is different from a transcript. A transcript is simply a
copy of what dialogue finally appeared onscreen, without regard to the original
script, the stage directions or action. A full post-production transcript may
also include descriptions of the action on-screen, but since it is generally
not written by a professional writer but either a production assistant or a
fan, it may not be particularly entertaining to read.
Many published screenplays available at booksellers or downloaded from
the internet are in fact glorified post-production transcripts rather than
shooting scripts. Transcripts and screenplays often differ radically because
scenes are frequently re-ordered or dropped entirely during the editing
process. Moreover, actors may change lines or simply improvise dialog, and many
directors will make their own changes to the script on the fly during rehearsal
or shooting.
It can be extremely revealing to compare a shooting script with the film
as finally distributed.
Make sure both parties are clear on exactly what the work is going to be
and what you are going to deliver when the project is done. Ask questions. Get
to know both the project and the client. Make sure you are comfortable with
both.
2. Be clear about money
Negotiating is fine, but don’t get backed into a corner. Before you begin
any job make sure that you are comfortable with the amount of money you’ll be
making. As a writer you have the most negotiating power before you agree to
take on any job. If you aren’t satisfied with the money on the table don’t be
afraid to say no and walk away.
3. Get it in writing
No matter what is said in phone conversations the only proof you have to
what you and the client agreed to is (a) the contract you sign and/or (b) any
email exchanges between you and the client. As a standard procedure I send a
follow-up email to all my clients outlining everything we’ve agreed to before I
begin a job.
4. Get the money up front
Writing is a business. Don’t be afraid to be a businessman (or
businesswoman). My standard procedure is at least 50% up front before I do any
work on a project. The other 50% is due before I deliver the final product.
5. Keep it professional
Once terms are set, don’t back down if the client changes their mind.
They have agreed to a deal, and it’s up to them to uphold their end of the
bargain. If the client is unhappy it’s good practice to make them happy — after
all, happy clients bring referrals and/or repeat business! But if their demands
are unreasonable (if they decide they wanted something else after all, for
example) don’t be afraid to stick up for yourself. As a friend of mine says,
know where your line is and don’t allow the client to cross it. If the client
is implacable, terminate the business relationship.
Most clients are fantastic to work with, and respect professionalism. By
following a few simple ground rules you set expectations appropriately for both
sides so you can focus on what you love — being a writer.
None of this is legal advice. For legal advice, consult your lawyer. But
laying down a few simple ground rules is simply good business for all
screenplay writers.
1. Offer camera directions in your screenplay
Don’t trust the intelligence of the director or cinematographer and offer
camera directions in your script like, ‘pan’, ‘zoom’, ‘dolly’, ‘trolley shot’
or ‘low angle shot’. That will make your script look like one from history and
is a definite way of getting it rejected.
2. Offer editing directions in your screenplay
Similarly, go ahead… show a complete disregard to the editor’s
intelligence and write editing instructions like ‘cut to’, ‘dissolve’, etc. and
your screenplay will look like a thing of the past. In modern day screenplays
editing directions are no longer in vogue. Only ‘fade in’ and ‘fade out’ are
used twice or thrice in an entire screenplay.
3. Do not capitalize character names
Do not capitalize the character names while writing a movie script. Leave
them in lowercase text and your screenplay will be rejected for sure.
Similarly, leave words that denote sound, like WHOOSH, or CLANG in lowercase,
to show how little you know.
4. Make your screenplay shorter than 90 pages or longer than 130 pages
While writing a movie script, you should definitely make it longer than
130 pages, or shorter than 90 pages to make sure your screenplay goes straight
into the trash bin, because normal screenplays are 90 pages to 130 pages in
length.
5. Write very lengthy dialogs
Writing a movie script? Love writing interesting dialogs? Then go ahead
and make them lengthy. Make each dialog lengthier than 5 lines and that will
ensure your screenplay is ripped and made into paper airplanes.
6. Write very lengthy scenes
While writing a movie script, make sure your scenes are lengthy enough to
get the screenplay rejected. While normally scenes are less than a page in
length to maximum three pages, with 5 page scenes being an exception; you
should concentrate in making your scenes more than 5 pages in length… to join
the rejected screenplay writers’ club.
7. Write lengthy descriptions
While the normal length of writing a scene description is 1 to 4 lines,
you should break the rule and write at least 10 line scene descriptions to be a
part of the frustrated screenwriters’ league.
8. Use character names that sound and spell similar
Make your character names sound confusingly similar. Or make them start
with the same letter, so that the viewers are thoroughly confused.
9. Use character names for very minor characters
Give character names to even minor characters that appear just once and
have one line dialogs, to prove you want to get your screenplay rejected. While
the rule is, you should use the professions to identify minor characters,
rather than names, a violation of the rule is recommended if you want to do the
opposite of normal.
Eg.POLICE OFFICER
Show me your driving license. God
save you if you don’t have one.
The above is normal, if this POLICE OFFICER appears only once in the
entire movie. In a good screenplay, a name like ‘HARRY’ or ‘TOM’ or ‘DICK’
would have been inappropriate for this role.
10. Use wired slug lines.
Scenes start with slug lines like:
INT. COFFEE HOUSE – NIGHT
Or
EXT. BEACH – DAY
While normal screenplay writers use only ‘day’ or ‘night’, you can be a
rebel and use wired slug lines like DUSK, DAWN, SUNSET TIME, SUNRISE TIME, to
stay ahead in the race of getting your screenplay rejected.
11. Make a mess of the alignment
And finally, make a mess of the alignment. While the rule is, scene slug
lines and action descriptions should be extreme left aligned, character names
should be center aligned and dialogs should be left aligned, but an inch
towards the right.
Eg. Correct format:
EXT. ROAD – DAY
POLICE OFFICER
Show me your driving license. God
save you if you don’t have one.
Sees the license
POLICE OFFICER (CONT’D)
This license has expired three months ago. Please come out of the car
mister.
He opens the door and COLLIN walks out of the car.
Wrong format:
EXT. ROAD – DAY
POLICE OFFICER
Show me your driving license. God save you if you don’t have one.
Sees the license
POLICE OFFICER (CONT’D)
This license has expired three months ago. Please come out of the car
mister.
He opens the door and COLLIN walks out of the car.
12. Use plenty of mood descriptions throughout the screenplay
Use of phrases in brackets like (smiles), (looks worried), (laughs out
loud) with every possible dialog to prove yourself to be a complete novice.
Experienced screenwriters avoid using such phrases as far as possible because
these are for the director to decide. Three such uses in a complete good
screenplay are allowed.
13. Do not visualize
While writing a movie script, write it just for the sake of writing it.
Do not visualize anything in your mind’s eye. Do not bother if your scenes will
be picturesque or boring.
And of course, do not take the help of the premier screenwriting and script
consultancy service TheScreenplayWriters.com, because this team of
screenwriters is so good and powerful, your screenplay will never be rejected.
To make sure your screenplay is rejected, they should be strictly avoided.
Orson Wells, great American filmmaker, once said, The writer should have
the first and the last word in filmmaking. Unfortunately in Bollywood today,
the opposite holds good. Writing has gradually taken a backseat to other
aspects of filmmaking. With the exception of Salim-Javed duo, most Indians
would be hard-pressed to remember the names of screenwriters who were behind
the success of many blockbusters. It is not that Hindi cinema has dearth of talent
but due recognition to writers has been lacking lately. Bollywood needs to
revive the idealism of the past when producers put their full faith in the
screenwriters and gave them the honor they deserved for giving them a hit film.
Bollywood can boast of writers who appealed and reached out to different
sections of society, minds that explored something we had not heard before,
stalwarts who gave recognition, respect and dignity to the craft of
screenwriting. Here is a tribute to some of the greatest screenwriters of Hindi
cinema.
Wajahat Mirza: The famous producer-director Mehboob Khans right hand man,
Wajahat Mirza was one of the earliest screenwriters who was highly acclaimed by
critics and the audiences for his contribution in making Mehboobs Aurat (1939)
a classic. Mirza again gave his best when Mehboob wanted to revive Aurat in the
fifties to produce Mother India (1957), Mehboobs all time best movie that won
Hindi cinema its first Oscar nomination.Besides Mother India, Wajahat Mirza was
associated with Mehboob as screenwriter for Watan (1938), Hum Tum Aur Who
(1939), Ek Hi Raasta (1939) and Behen (1941). His other notable films are
Mughal-E-Azam (1960), Ganga Jamuna (1961), Leader (1964), Shatranj (1969),
Ganga Ki Saugandh (1978) and Love and God (1986).
Khwaja Ahmad Abbas: Renowned journalist and writer, K. A. Abbas gave some
of the greatest Hindi films as a screenwriter Naya Sansar (1941), Dr. Kotnis Ki
Amar Kahani (1946), Dharti Ke Lal (1946), Awara (1951), Anhonee (1952), Munna
(1954), Shri 420 (1955), Jagte Raho (1956), Pardesi (1957), Char Dil Char Rahen
(1959), Shehar Aur Sapna (1963), Sapnon Ka Saudagar (1968), Saat Hindustani
(1969), Mera Naam Joker (1970), Do Boond Pani (1971), Zindagi Zindagi (1972),
Achanak (1973), Bobby (1973) and Henna (1991). As a producer-director Abbas
gave a break to newcomer Amitabh Bachchan in Saat Hindustani. His film Pardesi
was nominated for Golden Palm at the Cannes. Abbas also had the honor of
becoming Member of the Jury at the Berlin International Film Festival in 1966.
Pt. Mukhram Sharma: The most famous writer of stories with social themes
in the fifties, Pandit Mukhram Sharma had a long association with B. R. Chopra.
He had written stories for many of his hit films. Some of his notable films are
Ek Hi Raasta, Aulad, Sadhna and Dhool Ka Phool. Pt. Sharma had also won
Filmfare awards for Sadhna, Vachan and Aulad. His other hit films include
Santaan, Do Kalian, Jeene Ki Raah, Raja Aur Rank, Dadi Maa, Gharana and Talaq.
Pt. Mukhram Sharma won Sangeet Natak Academy Award (1961).
Gulshan Nanda: Darling of the 60s, 70s and part of 80s, Gulshan Nanda was
indeed the most sold writer of his time. He was also one of the most successful
writers from the point of view of Hindi cinema on whose novels many hit movies
have been made. He worked with some of the best known and widely respected
banners and directors in Bollywood L. V. Prasad, Ram Maheshwari, Shakti Samant,
Subodh Mukherjee, Yash Chopra and Chetan Anand. Many of the films written by
him directly or based on his novels were not only commercially successful but
also remembered as all time great films Kaajal, Neel Kamal, Ajnabi, Khilona,
Kati Patang, Pathar Ke Sanam, Sharmilee, Hanste Zakhm and Jheel Ke Us Paar.
These films have absorbing plots and are benchmarks for healthy entertainment.
Sachin Bhowmick: A screenwriter with Midas touch, Sachin Bhowmick was
associated with the maximum number of blockbuster movies made by Bollywood
Lajwanti (1958), Anuradha (1960), Ziddi (1964), Ayee Milan Ki Bela (1964),
Janwar (1965), Love in Tokyo (1966), Aaye Din Bahar Ke (1966), An Evening in
Paris (1967), Brahmchari (1968), Aradhna (1969), Aan Mili Sajna (1970), Caravan
(1971), Andaz (1971), Dosti (1974), Khel Khel Mein (1975), Zindagi (1976), Hum
Kisi Se Kam Nahin (1977), Azaad (1978), Gol Maal (1979), Do Aur Do Panch
(1980), Karz (1980), Bemisal (1982), Nastik (1983), Zameen Aasman (1984),
Jhoothi (1985), Saudagar (1991), Karan Arjun (1995), Koyla (1997), Dushman
(1998), Aa Ab Laut Chalen (1999), Koi Mil Gaya (2005), Kisna (2005) and Krrish
(2006). He won Filmfare Award for Brahmchari.
Akhtar Mirza: A great writer of short stories, Akhtar Mirza was
associated with Bollywood as a screenwriter in the 50s and 60s, winning
Filmfare Awards for Best Story for Naya Daur (1958) and Waqt (1966). His other
notable films were Bawre Nain (1950), Ab Dilli Door Nahin (1957), Mohabbat Isko
Kehte Hein (1965) and Dhund (1973).
Ismat Chugtai: Eminent Urdu writer, a revolutionary feminist, Ismat
Chugtai explored feminine sexuality, middle-class gentility and the evolving
conflicts in the modern Muslim world. A great short story writer, she won
Filmfare Award for Best Story of Garam Hawa (1975). Her other most memorable
movies are Arzoo (1950), Sone Ki Chidia (1958) and Junoon (1978), in which she
also had screen appearance.
Prayag Raj: Renowned and widely respected screenwriter, Prayag Raj had a
long writer-actor association with Amitabh Bachchan since the 70s Amar Akbar
Anthony (1977), Parvarish (1977), Suhaag (1979), Naseeb (1981), Desh Premi (1982),
Coolie (1983), Gereftaar (1985), Mard (1985), Ganga Jamuna Sarswati (1988),
Ajooba (1991) and Zamaanat (2006). Prayag Rajs other notable movies include Aa
Gale Lag Ja (1973), Roti (1974), Ponga Pandit (1975), Dharam Karam (1975) and
Deewana Mastana (1997),
Salim-Javed: The team of Salim Khan and Javed Akhtar brought the writer
to the forefront as never before in Indian cinema. They were the first to make
the writer as much a star in his own right and they commanded a fee often
higher than the actors starring in the films they wrote. They were responsible
for the phenomenon of the angry young man in the 70s personified by Amitabh
Bachchan. Zanjeer (1973), Deewar (1975), Sholay (1975), Don (1978) and Trishul
(1978) owed a great deal of their success to the writing of Salim-Javed duo.
They also brought about a major change in the Hindi film dialogue hard-hitting
dramatic dialogue became a fashion in films. Practically every dialogue of
Sholay is remembered till today.
Gulzar: Writer, lyricist and director, Gulzar is known for films that are
sensitive, lyrical and yet very successful. They were a welcome relief from the
violent films that filled the 1970s and 80s. Starting as Bimal Roys full time
Assistant, he became one of the finest screenwriters and lyricists of Hindi
films, with a long list of memorable movies Anand (1970), Mere Apne (1971),
Guddi (1971), Koshish (1972), Parichay (1972), Achanak (1973), Namak Haram
(1973), Khushboo (1975), Chupke Chupke (1975), Aandhi (1975), Mausam (1975),
Kitaab (1977), Grih Pravesh (1979), Namkeen (1982), Angoor (1982), Masoom
(1983), New Delhi Times (1986), Ijaazat (1987), Lekin (1990), Rudaali (1993),
Maachis (1996) and Saathia (2002). Gulzar won Filmfare Awards for Saathia and
Anand.
Apart from the above listed leading screenwriters of Hindi cinema, there
are some more writers who have made a name for themselves for their significant
contribution in making of great Hindi movies, and deserve to be applauded along
with them: Shams Lucknovi (Andaz), Ritwick Ghatak (Madhumati), R. K. Narayan
(Guide), Kaifi Azmi (Heer Ranjha), Sujit Sen (Arth, Saransh), Sudhir Mishra
(Jeene Bhi Do Yaaro), Kamna Chandra (Prem Rog, Chandni, 1942-A Love Story),
Honey Irani (Lamhe, Darr, Kya Kehna, Kaho Na Pyaar Hei, Koi Mil Gaya, Krrish). Besides,
hats off to some very successful producer-directors who have proved that they
were also great screenwriters I. S. Johar, O. P. Dutta, Shyam Benegal, Govind
Nihlani, Shekhar Kapoor, Subhash Ghai, Ashutosh Govarker, Karan Johar, Madhur
Bhandarker, Rajkumar Santoshi and Vishal Bhardwaj.
Breaking the rule is filmmaker Prakash Jha who has consistently tackled
political themes in his films be it rural oppression in Damul, women’s rights
in Mrityudand, or mob-justice in Gangaajal. Other writers to address political
issues in films are Atul Tiwari and Anjum Rajabli in films like Drohkaal,
Mission Kashmir, Netaji and The Legend of Bhagat Singh.
The idea of forming an association of film writers first originated at
the Sunday cultural and literary meetings held at the residence of Shri Anil
Biswas, the music director, in the year 1950.
Towards the end of 1950, a meeting of film writers was held in the Shree
Sound Studios to form a film writers association, electing D.N. Mandhok as it's
President, Mahesh Kaul and Pt. Sudarshan as Vice Presidents, Madhusudan as
General Secretary and Shakeel Badayuni as Treasurer.ÂThe members of the executive committee were,
Kamal Amrohi, Dr. Safdar Aah, Narendar Sharma, Inder Raj Anand, Arjun Deo
Rashik and Ramanand Sagar.One of its earliest actions is related in a news item in Screen, dated
November 9th, 1951 and published immediately after the release of film industry
commission report:
"The Film Writers' Association, Bombay, passed a resolution
deploring the lack of representation for Screen Writers on the proposed film
council. It asked the Central Government to provide adequate representation to
them"
Story, script, song and dialogue writers of all languages belonging to
the Bombay film industry were invited to attend a meeting organized by the Film
Writers' Association to be held at Shree Sound Studios on Saturday, May 29th,
1954.
Thus on August 7th, 1954 the newly formed Film Writers' Association of
Bombay elected the following executive council for 1954-1955: "Ramanand
Sagar (Hon. General Secretary), Vishwamitra Adil and C.L. Kavish (Joint
Secretaries), Pt. Sudarshan (Treasurer). "The Executive Council members
are: K.A. Abbas, D.N. Mandok, P.L. Santoshi, Mahesh Kaul, I.S. Johar, Rajendar
Singh Bedi, Majrooh Sultanpuri, Sahir Ludhanvi, V.P. Sathe, Shakeel Badayuni,
Krishna Chandra, Kamal Amrohi, Rajendar Kishen, Ali Raza, Nabendu Ghosh."
One of the earliest and most important objectives of the association was
to ensure a minimum wage for screen writers. A letter dated 3rd January 1961,
signed by the then President of F.W.A., K.A. Abbas, addressed to I.M.P.P.A.
records the fixed minimum wages as follows: Rs. 2500 for a story, Rs. 2000 for
a screenplay, Rs. 3000 for a dialogue and Rs. 500 for a song.
In keeping with changing economic conditions these rates were, of course,
revised from time to time. The first such revision came in August 1962 after a
rather arduous struggle.
In the following years the members of the Association seemed to be
divided on the question of registering the body under the Trade Union Act. This
issue was discussed in the meeting of the organization committee of the
Association held on May 15th, 1955, but it was only on February 26th, 1960 that
the General Body meeting of the F.W.A. decided to register the F.W.A. as a
Trade Union. The members authorized to complete these formalities were K.A.
Abbas, Qamar Jalalabadi, Sahir Ludhanvi, Shashi Bhushan, Vijendra Gaur, C.L.
Kavish and S.R. Basar.
Over the years the Association has given the film fraternity many
talented writers and these writers have built the credibility of the
association. A dramatic change has taken place in the lyrics and screenplays,
as in the levels of payment for this work. Gradually writers became more aware
of their rights and slowly began to speak in a collective voice.
The year 2007 saw the first seminar held by the Film Writers'
Association, at F.T.I.I in Pune, where prominent writers spoke on a variety of
subjects. This year, the Association held a two day seminar at Mumbai's Film
City, dedicated to the greatest Indian playwright of the Twentieth Century,
Vijay Tendulkar.
Born on 6th January, 1928, Vijay Dhondopant Tendulkar grew up around the
printing press that his father worked at, The exposure he had to books,
literature, and to the artistic atmosphere of Kolahpur inspired him to write
his first story at the age of six. At eleven, he had written and directed his
first play, and by the age of fourteen, had displayed signs of his intense
social conscience by plunging into the ‘˜Quit India Movement'. Thus began a
journey that included the running of a printing press, journalism, a public
relations job, social activism, and most prominently, his writings.
The first of these writings was a radical play called ‘˜Srimanta' in
1956. He continued with noteworthy works such as Gidhade, Shanata! Court chalu
aahe, Ghasiram Kotwal, Sakharam Binder, Kamala and many more. In 1971 he turned
Shantata! Court chalu aahe into a screenplay for Satyadev Dubey, and over the
years there were many more like Manthan, Akrosh, Nishant, and Ardh Satya among
others.
The opening session discussing Tendulkar as the man and as the writer
included eminent speakers like Govind Nehalani, Dr. Jabbar Patel, Amole Palekar
and Imtiyaz Hussien offering their interesting insights on the genius. In the
following session, Kamal Hassan, who has been producer, director, screen writer
and actor at various times, stressed the emphasis on structuring in modern
screenplay.
The speakers delved on the myth of falling standards of script quality.
They discussed whether the script is the most neglected aspect of cinema. While
some agreed, many disagreed and argued that recent years have given some
striking screenplays in every possible genre but these instances are not
sufficient to usher in a change.
Day two discussed more controversial topics. Is the only purpose of
popular cinema to entertain? Examples were cited when many story ideas were
abandoned in the concept stage because the theme was too serious. Breaking the
rule is filmmaker Prakash Jha who has consistently tackled political themes in
his films be it rural oppression in Damul, women's rights in Mrityudand, or
mob-justice in Gangaajal. Other writers to address political issues in films
are Atul Tiwari and Anjum Rajabli in films like Drohkaal, Mission Kashmir,
Netaji and The Legend of Bhagat Singh. Jahnu Barua, after making a dozen films
in Assemese explored a serious issue in Maine Gandhi Ko Nahin Maara and more
recently, Har Pal. Anurag Kashyap's gritty incisive style is reflected in Black
Friday and Aamir, for which he was creative producer, while Kamlesh Pandey's
dramatisation of the tragic consequence of the apathy of the public in Rang De
Basanti struck an instant chord with the young.
The producer and director play an important role in their relationship
with the writer. Without a foundation of trust the script or the song can never
attain the quality that the writer desires for his work. The producer is a
replication of the patron of the feudal system who, apart from paying the
writer is responsible for his working conditions. Directors Abbas Tyrewala and
Amole Gupté spoke at length about their experiences with various production
houses.
Two years ago, at the end of the seminar in Pune, those present agreed
that the writers would get involved with union work. This year's seminar was a
result of that commitment. The film industry though professionally run has to
still clearly define the writer's professional rights. Young writers are at sea
when negotiating a contract, which has undermined what is an integral part of a
contract. But not any longer. Times are changing. Today's writers are asking
pertinent questions concerning legal rights of a screenwriter. Questions about
the copyright act, contracts and other matters of importance. The time has come
to strike.
Writing the Beginning of a Screenplay Scriptwriting Hints & Tips on
How to Write the First Act to a Film
Writing a movie script entails a rigorous self-critique, but this
especially applies to the opening ten pages of the screenplay. Before
submitting a screenplay, it is useful to remember that, rightly or wrongly,
first impressions stick, and if the reader feels the first ten pages of a
screenplay is predictable or slow, the rest of the screenplay is likely to be
too.
Screenplay Critique to Save the Script from the Rejection Pile
It is useful to imagine the reader in the production department as a
tired and underpaid soul on a Friday afternoon with a huge pile of scripts to
get through. They are looking for any excuse to reject the script, whether it
contains a misspelling, or a hackneyed scenario. If this were real, one can
easily imagine why so many scripts get rejected.
Screenwriting Formatting Software
The following would be worth bearing in mind:
•Do not send a screenplay
that is shabby or falling apart.
•Ensure the screenplay is
written in an approved script format. BBC Writersroom contains examples of
screenplays for film and drama. ScriptSmart Gold is a downloadable software
that will format the screenplay for film, drama, sitcoms and for radio.
•Enclose contact details
and SAE if return is required.
The First Act of a Screenplay
Screenplays are divided into three acts. The first is the set up, the
second is the build up and the third is the climax. Setbacks and problems, each
bigger than the last, form the model screenplay. The first act is the one that
the reader is likely to be presented with when reading the first ten pages.
The First Ten Pages
The beginning of a screenplay should always throw the reader into the
middle of a situation. A screenplay is not a novel, it does not allow for
background detail or the inner thoughts of the protagonists. Try chopping the
first scene in half. Begin the screenplay at this point. This will tighten the
beginning.
The Hook
The hook draws the reader into the story. This might be in the form of a
confrontation, or a shocking discovery. This might also a scenario that hurls
an ordinary person into extraordinary circumstances. This hook must present
itself by page five.
What the Reader is Looking for at the Beginning of a Script
If the screenplay contains originality, evidence of this must be shown by
page ten. The theme of the screenplay must be apparent by this time. This might
be an underlying message, such as “what is inside is more important than what
you weigh”, or “love is more important than money”.
What the Screenplay Must Inform by Page Ten
•The hero of the story.
•The main protagonists.
•What the story is about
•The dramatic setback for
the hero.
•The Genre.
The Ideal Opening Scene of a Screenplay
The first ten pages must provide the hook and introduce the main
characters and the gist of the story. Originality must be apparent, as well the
theme. Most importantly, the story must make the reader want to keep turning
the pages.
The pages in a script should be fastened securely together to a stiff
folder, with the title page at the front, containing the scriptwriter’s contact
details. If any pages appear dog-eared, replace them, especially the title
page. Crisp, clean pages with sharp printed text shows that the screenwriter
has taken care with their work, and therefore what lies within is likely to
show the same care.
Formatting the Screenplay
Readers are insistent that a screenplay should be properly formatted.
There are downloadable packages available that format the script for you, which
takes away the headache of doing so manually. ScriptSmart Gold is an excellent
recourse for aspiring screenwriters. This tool will format film, TV drama,
sitcoms and radio for the UK and the US markets.
How Not to Write a Screenplay
A screenplay is a different medium to a literary novel. It does not allow
for background information or lengthy descriptions of the characters. The
screenplay means show don’t tell. A reader will be immediately put off by reams
of prose. Ideally, a screenplay must consist of lots of white page, punctuated
by short paragraphs describing action and snappy dialogue.
What Will Turn a Reader off a Screenplay
According to Ray Frensham’s Teach Yourself Screenwriting (Hodder
Education, 2003) the first thing a reader will do is to flick through the pages
to see how long the script is and how much text per page it contains. An ideal
script should be between 90 and 110 pages long. One page roughly equates one
minute of screen time. Anything outside of this is not good. Reams of text is
also not good. In this case, less is more, and lots of white spaces on each
page will be looked on with approval.
Getting a Screenplay Read
Literary agents and production departments receive a huge influx of
screenplays every day. For this reason, their readers will look for every
reason to reject your screenplay. It is good exercise to imagine a tired, underpaid
reader in the production department when you consider the first ten pages of a
screenplay. For this reason, the first ten pages of a screenplay are absolutely
crucial.
Giving the Script a Good First Impression
Presentation is important. Ensure the script is formatted properly and
includes contact details and (if appropriate) SAE. The first ten pages are
crucial and must grab the reader.
Pitfalls to Avoid Outright Rejection of a Screenplay for Film
Completing a screenplay is not the end, but only the beginning, and the
next phase can be very rocky, and full of pitfalls. Even getting a script read
can be difficult. The following guidelines will help overcome the mistakes a
novice scriptwriter might make.
How to Present the Screenplay
This might seem obvious, but presentation is everything. Every package
that the reader opens is like looking into a shop window, and if a shabby or
handwritten script or one that is ready to fall apart graces their eyes, the
chances it will be read will be severely dented. Yet this does happen quite often.
How to Please the Reader in a Film Production Department
First impressions stick, and if the reader opens the covering letter and
finds that the scriptwriter has written reams of passages explaining why they
think their screenplay is good, they are unlikely to take your screenplay
seriously. For the same reason, avoid fancy letterheads and gimmicks. Every
screenplay must stand on its own merits. For this reason, a brief covering
letter containing the screenwriter’s contact details is more professional. Be
sure to enclose return postage if return is required.
The main body of the synopsis will tell the story in fast forward, but it
must be a captivating read. Imagine a tired and underpaid editor reading it. Since
every word counts, it is unwise to use two if one will do. Getting straight to
the point is the best approach and will give the screenwriter a professional
feel when the synopsis is submitted. Allowing someone else to read the synopsis
could highlight problems with it. Feedback is always important for the
screenwriter. The following should be addressed:
•Does the synopsis flow?
•Is it engaging?
•Does it accurately
reflect the screenplay?
If there are any doubts about the wording, it might be wise to put it
away for a week or so and to read it again with a fresh viewpoint
Writing a Screenplay Summary for Submitting to Film Producers
Completing a full-length screenplay is not the end. Some film producers,
agents and publishers insist upon a submission package. Before even reading the
script, they might insist upon any or all of the following items, namely:
•A covering letter with
the writer’s contact details
•A tagline of the movie
•A synopsis of the film
•A film treatment
•A list detailing the
main characters
•Sometimes even a
personal statement
Outline of a Film
A synopsis is a brief plot breakdown of a story. This must be no longer
than one to two pages. Where a tagline summarises the story in one sentence,
and a film treatment shows a scene-by-scene outline of a film, the synopsis
lies somewhere in between and is frequently requested within a submission
package.
Summarising the Story of a Script
Some filmmakers and agents will request the synopsis before even looking
at the script. If the synopsis does not stand up, the agent may send it back
with a rejection letter. For this reason, the synopsis can be crucial for the
writer. Like the opening of a screenplay, it is like a shop window for agents
to look at. If it does not entice, the screenplay will get no further in the
submission process.
Guidelines to Writing a Good Plot Summary
In writing a synopsis, the following guidelines should be followed:
•At the top of the
synopsis page, state that it is a “synopsis.” State the screenplay’s title and
genre. The writer’s details should be given at the bottom of the page.
•Give an idea of the plot
setting, the time and the place and the problem. This is known as Act 1 of the
three-act structure of storytelling.
•Give a brief description
of the main characters as they appear in the story.
•Begin the synopsis at
the beginning of the story and tell it in the same order as the screenplay. The
three-act structure of the plot must be reflected within the synopsis.
•Scenes that propel the
story, including climatic scenes, known as Act 2.
•No cliffhangers are
allowed. The story’s ending must be revealed in order that the agent or
filmmaker can see that the writer has provided a satisfactory resolution. The
resolution is known as Act 3.
•Synopses are often 250
words long. If the guidelines ask for this, stick to it. If not, complete one
page, at the most two.
•Use Times New Roman or
Arial, unless otherwise requested. Use single line spacing and breaks between
paragraphs within standard margins.
•Tell the story in the
present tense and in the third person.
•When telling the story,
do not include dialogue. Just tell the story as it is in a formal way.
