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Posts Tagged ‘Power Screenwriting’

“Not all film heroes change: James Bond, Ace Ventura, Batman and other action figures are too busy effecting change, by saving the world or making us laugh, to undergo personal transformation. However, in the film stories we turn to time and time again, be it Casablanca, Witness, Moonstruck, Chinatown or In the Line of Fire, the hero solves a personal problem and undergoes change and endears him to us forever. We are grateful for their experience because most of us do not have the time in our busy lives to pursue self-transformation. Instead, we go to the movies. We pay movie stars a lot of money to show us how to change.”
Michael Chase Walker
Power Screenwriting
Page 4

P.S. Just last month I quoted Garry Marshall as saying, “Most good stories are Cinderella” and Blake Snyder once wrote that, “All stories are transformation.” Some transformation movies that quickly come to my mind are On the Waterfront, Toy Story 3, and most recently, Flight. What are some of your favorite transformation movies?

Related Post: Cheap Therapy — Related thoughts from John Gardner and Richard Krevolin

Scott W. Smith

 

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“I never saw my father or my mother, and never saw any likeness of either of them, my first fancies regarding what they were like, were unreasonably derived from their tombstones.”
Pip in Charles Dickens’ Great Expectations 

When a hero starts his life as an orphan, it is to show he has nothing to lose. He is unattached and unencumbered by family ties and social obligations, so he is usually portrayed as an orphan to indicate that he is not saddled with the normal attachments the rest of us have. This sense of not belonging is a part of all of us.”
Michael Chase Walker
Power Screenwriting

I’m sure somewhere along the way in reading Joseph Campbell or Chirstopher Vogler, and their work on mythology, I read about the role of the orphan character. But not until I read Michael Chase Walker’s brief one page summary on orphans in his book Power Screenwriting did I connect it with a screenplay I have written and have been recently re-writing. (And I should add that Walker himself credits Carol Pearson’s book The Hero Within for many of his insights.)

Then once I connected the dots the floodgates opened wide and there were orphans running all over the place in cinematic history. While the orphan can literally be an orphan he or she usually isn’t.  Walker clarifies, “The orphan/hero today is created by giving your main character a single and footloose status. He may be divorced, widowed, abandoned, handicapped or a maverick. It doesn’t matter. The point is that the heroes and heroines must be free to seek their destiny and reclaim their birthright.”

Think of how these characters are orphans:
Neo/The Maxtrix
Superman
Rocky
Dorothy/The Wizard of Oz
Will Hunting/Good Will Hunting
Jason Bourne/Bourne trilogy
Tom Hanks character/The Terminal
Jack Lemon character/ The Apartment
Citizen Kane
E.T.
Bambi
Forrest Gump
Seabiscuit
Jerry Maguire
Rain Man
Sleepless in Seattle
Babbett’s Feast
Hoosiers
The Firm
Kramer vs. Kramer
Lion King
Home Alone
Oliver Twist
Gladiator
Elf
Star Wars
Erin Brockovich
The Wrestler
Gran Torino (Clint Eastwood has made a career of playing orphans)

Orphans in movies are often lost and alone as they begin their journey. Is there any wonder why audiences connect with such characters?

1/25/12 Update:  “I never looked at (Hugo) as a 3-D family film. I never consider an audience that way when I’m working. To me, it was a compelling story about an orphan making a home for himself.”
Hugo screenwriter John Logan
Movieline interview with S.T. Vanairsdale 

Scott W. Smith

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“Most screenwriters are unemployed, chronically unemployed.”
Screenwriter Tom Lazarus (Stigmata)
Secrets of Film Writing

“It’s either very lucrative and exciting, or nothing.”
Screenwriter Anthony Peckham (Invictus) on screenwriting

(Note: Though this post is now several years old it continues to get solid hits because it’s such a basic question. I’ve chosen not to update the NFL references because that’s a continually moving target. Just exchange the names for the current hot players of whatever year you’re reading this post.)

When people think of how much professional football players make they tend to focus on the big numbers. Brett Favre’s $20 million dollar one year contract with the Minnesota Vikings. Payton Manning’s $99.2 million seven year contract with the Indianapolis Colts. But the truth is most rookies in the NFL earn around $300,000 per year. Deduct taxes, agent fees, a down payment on a house, and an expensive sports car or two and there’s not that much left. (Relatively speaking, of course.)

Then factor in that most pro football careers last less than four years (NFL=Not For Long) and you can see why the majority of players who play in the NFL really have under a million dollars to their name when they retire.  And when you factor in a history of NFL players making bad investment decisions it’s not hard to understand why so many end up filing for bankruptcy when their short careers are over. (Hence, the ESPN documentary Broke.)

Often when people think of Hollywood writers they tend to once again think of the multi-million dollar deals. (Like Basic Instinct banking Joe Eszterhas $3 million—back in the early 90s.) But the truth is most writers (factoring both union and non-union) won’t make any money this year from their writings. (According to the Writer’s Guide of America-West (WGAW) recent report, of the 8,129 union members in 2007 3,775 were unemployed.) Depending on different sources working WGAw members seem to average between $40,000-$110,000. per year. (Key word there is “working” WGAw members.) Factor in the cost of living where most writers live (New York & L.A.) and  that’s probably about the earning power of (just a wild guess) $20,000-65,000. in much of the country.

On the film side a good rule of thumb is scripts can make up between 2-5%  of the total budget. So on a $50 million dollar film that could be as much as $2.5 million.(The highest paid spec script to date I believe  is $5 million to M. Night Shyamalan for Unbreakable, though that may have included his directing fee.)  But it also means on a $200,000 indie film could mean the screenwriter was paid $4,000. (And independent films make up the majority of the 500 or so feature films made per year. )

“When you’re not in the [WGA] you’re just grateful for anything that’ll you give you a month of rent or a couple months of rent. My first couple of jobs were New York independent things…of course, there wasn’t a lot of money for an untested writer. So if somebody had read some things you’d written, or a play you’d written, or a script you’d written on spec then sometimes you’d get paid 5,000 bucks, if you’re lucky, on a good day maybe 10,000 bucks.
Screenwriter Chris Terrio (Argo) taking about getting his start on DP/30

Of course, what screenwriters make globally will vary greatly. In Nigeria—Nollywood— they are making a lot of movies, but most budgets are sub-$100,000. And even in Hollywood what screenwriters make will vary. At the top of the Hollywood feature film food chain are working WGA writers who generate writing income several ways. Nailing down those exact numbers is hard, but this is how the top screenwriters can make $100,000 or $200,000 a week and millions over the course of the year:

—Writing assignment (developing new script from book, article, or an idea)
—Punch-up a script (take an existing script and add action and make it more dynamic, tweak the dialogue, and/or add humor to make funnier)
—One to three week polish of a script 
—Page one re-write. Take an existing screenplay that has promise, but needs a lot of work, and make it a script worth producing.
—Residuals (DVD/Blue-Ray/digital sales, Tv and foreign rights)
—Speaking (college and corporate work)
—Spec work (selling a screenplay without a deal from a producer or studio)
—Story meetings (A gathering of writers to kick around story concepts. Seen by some as a negative direction for the industry, as it’s the equivalent of kicking tires.)

On the TV side writers can be paid per script or as a staff writer. The highest paid are the ones who create a hit network show and stay on as producer/writers. If that show stays on the air for five years and goes into syndication then they can afford to buy a small tropical island.  (Largely based on the success of the TV show Seinfeld, Jerry Seinfeld’s net worth is in the hundreds of millions—and maybe over a billion dollars by the time you read this.)  A good gig if you can land it, but that doesn’t describe most TV writers.

“On balance, television writers today are the highest-paid practitioners of the literary profession in history. But mark the phrase on balance. If you can sell two one-hour scripts per year, which is a pretty good average for a freelance writer, that’s about $40,000 per year, before taxes. That figure is comparable to or less than the yearly average of elementary school teachers and considerably less than plumbers. The majority of working writers fall into this financial category. It’s only when you get the top 5 to 10 percent that you find writers and hyphenates who routinely earn six figures a year or more.”
J. Michael Stracznski, writer/producer
(Babylon 5, Changeling)
The Complete Book of Screenwriting

Granted that book was published in 1996 (and I think the minimum range for a 90 minute or less story & teleplay these days is around $30,000.*) but in a world of reality TV programing there is less scripted work being produced. (I know there are a lot fewer soap operas being produced than in 1996.)

“In 24 hours, NBC has just three hours of dramas and comedies. And, on some nights those make way for Dateline or Deal No Deal.”
Charles B. Solcum
Written By, August/September 2009
page 19

I have a writer friend with network credits in L.A. who was recently offered a job on a cable TV program that would pay her just a little more than her unemployment benefits. When you live in a land where rent is $1,500-3000. per month these are trying times. One more reason to live outside L.A., right?

Screenwriter John August recently wrote an excellent post What’s wrong with the business where he addressed some of these issues. I’ve quoted from that article before, but this is worth repeating because the industry is changing and the young, creative people coming up are going to embrace the changes;

“To become one of those inventors of industry, you need to surround yourself with similarly ambitious people. Film school is a good choice, but so is living and working in the right neighborhood in Silverlake or Brooklyn or Austin — or more likely, a place I wouldn’t even realize is a hotbed.”
Screenwriter John August
(Big Fish, Corpse Bride)

Could that hotbed be a place like Des Moines, Iowa? Steven Spielberg thinks so. He told Katie Couric on the NBC Today Show back in 1999, “I think that the Internet is going to effect the most profound change on the entertainment industries combined. And we’re all gonna be tuning into the most popular Internet show in the world, which will be coming from some place in Des Moines.”

Wait a minute, didn’t John August go to Drake University in Des Moines? That Spielberg is a genius, you know? And didn’t Diablo Cody go to school in Iowa City? If John August and Diablo Cody ever move back to Iowa then you know that this blog will at least be assured a small footnote in the history of screenwriting.

I wouldn’t bet on that anytime soon, but I would bet that within ten years places now known more for football like Minnesota & Indianapolis (as well as Detroit, Austin, Atlanta, Memphis…and, of course, Cedar Falls) will see writers and filmmakers rise up (and stay put) as they embrace the digital revolution and the opportunities it brings.

Related Post: Investing in Screenwriting. (I have a quote in there by Max Adams who explains how a $500,000. feature script option can really translate to a mere $3,500. per year for the writer who worked on that script.)

* To see current Writers Guild of America’s Theatrical and Television Basic Agreement visit the WGA-West website.

Update 12/09: Since this is a popular post as far as views I will update it from time to time and welcome your input on correcting any numbers. While reading over the WGAw report I made another connection between screenwriting & the NFL. On the film side there were 1,553 male writers employed in the last year of the report. That’s about 150 less writers than players in the NFL any given year. If you’re a female writer it just gets harder as they make up just 24% of all members in the guild. I don’t write these stats to discourage you but to help you know how solid your writing has to be to make a living doing this. And to also encourage you to keep your eyes open for alternative ways to earn a living in film, TV, and the Internet.

Update 3/12/10: Just read on Scott Myers’ blog Go Into The Story that the average production worker salary in the motion picture and tv industry is $74,400 a year.

Update 5/14/10: Residuals are another way film and TV writers get paid. I once worked with an actress who had worked on a popular TV show back in the day who told me she made $40,000 a year in residuals. A nice base. Check out the post Question: Do screenwriters get a percentage on the back end? by Scott Myers.

Update 11/08/10: Interesting article about football player (Keith Fitzhugh) who turns down NFL offer to keep his train conductor job.

Update 1/15/11:  “Let’s talk money, because no one ever does. A top tier screenplay deal these days might be for a million dollars or more. Most are far, far less, but let’s work with those crazy high numbers, in fact let’s say 2 million dollars, though nobody is paying that any more. Wow that’s a lot of money. But consider. With a writing partner, that gets cut down to $1,000,000., and after taxes, lawyers, agents, managers, and the WGA, let’s hope you get to keep $400,000.

That’s still a truckload of money, life changing, but they don’t give you that all at once. It might take six months to a year just to get the contract done, and the deal is contingent on the film going into production, and if it does that might take a year or three or five, and also the WGA has to grant full credit at the end of it all, which often doesn’t happen. But let’s say it all goes well, which means the ‘highest paid screenwriter in history’ is actually taking home around $200,000. a year, at least on that one deal. Which is good money, real good money, more than I ever imagined making, and let me tell you I do own a dream home in the hills … but it’s not in the fly-a-Learjet-to-your-own-private-island-in-the-Caribbean category.”
Screenwriter Terry Rossio (Shrek & Pirates of the Caribbean)
Interview with John Robert Marlow 

Update 2/11/11 “For every writer I know that lives high on the hog I know twenty who buy their bacon at Costco.”
Josh Friedman (War of the Worlds)

And this from the book Power Screenwriting:
“The truth is, the odds of writing and selling a screenplay are probably just as great as winning the state lottery or the next Publisher’s Clearing House Sweepstakes. Yet, with the emphasis directed towards the big bucks sale, the aspiring screenwriter may be deprived of one of the greatest transformational processes known to man: spinning a well-told story.”
Michael Chase Walker

Update 3/24/11: “Most writers never sell scripts. Why should you be any different?”
Christopher Lockhart who is the Story Editor for WME
From the post The Right Stuff on his blog THE INSIDE PITCH.  

Update 5/29/11: This is the WGA’s current minimum basic agreement (MBA) for a screenplay purchase:
Between $500,000 & $1.2 million budget: $42,930
Between $1.2 million and $5 million: $42,930
Between $5 million or more: $87,879

Keep in mind those are union numbers—and minimun numbers at that. (Top writers making much, much more than scale.) But if a non-union company buys your script expect less. If you wrote the screenplay with another writer cut those numbers in half, and of course, deduct for taxes, lawyers, agents, etc.

Update 7/6/11: This post is by far the most viewed post of all time on this blog and you may enjoy this post today from Scott Myers on his blog Go Into The Story: Reader Question: How much does a top screenwriter get paid for a rewrite?

Update 11/08/11: “Most writers are middle class; 46% did not even work last year. Of those who do work, one quarter make less than $37,700 a year and 50% make less than $105,000 a year. Over a five year period of employment and unemployment, a writer’s average income is $62,000 per year.” Writers Guild of America, West

Update 2/22/12: Bureau of Labor Statistics in May of 2010 listed the mean annual wage for writers (including screenwriters) and authors at $65,960 (with $109,440 being in the 9o percentile).

Update 12/11/13: Even though this post is now four years old it continues to get steady hits and is by far the most viewed post I’ve ever written. But I’d like you to take the time to jump over to the post and read what Oscar-winning screenwriter Michael Arendt has to say about what I call The 99% Focus Rule. And a positive thing  that’s happened since I originally posted this is quality cable TV has exploded —as well as groups like Netflix producing their own programs— opening up new opportunities and a broader income stream for writers.

Update 6/11/17: While this post was on how much screenwriters get paid in the U.S., I should at least touch on the various ways writers can get paid for their work. This seems to be the core areas:
Spec script (You don’t get paid to write unless the script sells.)
Writing assignment (A writer is asked to write the script.)
Open assignment (Where several writers are asked to come in a pitch their take on what they’d do with a concept and one of the writers is chosen.)
Rewrite/polish (Could be as short as one day, but one to three weeks seems to be common. Enough time to take a script in various stages of either pre-production, production, and post-production and work your magic. Punch up the humor, tighten the structure, round out a character—something that makes the script better. I’ve heard the numbers between $100,000-$500,000 a week tossed around so that’s great money for those who get that kind of work. (Though the WGA minimum for a polish is in the $12,000 range when I last checked.) And it could also be a page one rewrite where a studio or production company likes a basic concept of a script the bought, but it needs a complete overhaul before it goes into production.
Staff Writers on network on cable TV shows
Residuals Backend money that comes from things like DVD sales and when a feature plays on TV. Jerry Seinfeld has made hundreds of millions of dollars as the co-creator of Seinfeld which has made an estimated $3 billon in syndication. So if you really want to make a killing as a writer the gold at the end of the rainbow is having a hit TV show.

Closing thought: “There’s more to life than a little money, you know?…Don’t you know that?”
Sheriff Marge Gunderson in Fargo
Written by Ethan Coen & Joel Coen

Scott W. Smith

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