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EntertainmentIndustry.name
Perhaps most common is when a Development Executive inside a studio or an independent production company comes up with a concept or has perhaps optioned a book, play, graphical novel, magazine article or the rights to someone’s true-life story.
The Development Exec then interviews writers to “develop” this concept under their tutelage. Again, the resultant literary asset remains the property of the hiring entity.
Once the script has been acquired, re-drafts are typically commissioned, sometimes by the original writer, but more often than not, a high-profile writer, known for his or her particular style or strengths is brought on board to compensate for the perceived weaknesses in the existing script.
Sometimes multiple “hired guns” are brought in to make the action more exciting, “punch up” the dialogue, make it funnier, solve structural problems, adjust for casting preferences, accommodate the Director’s vision and so on. This is usually done in an effort to provide the studio, investors or attached elements enhanced confidence in the marketability of the project and its likelihood for success.
The only way a screenwriter can hang on to a prayer of control of a script throughout this process is to attach him or herself as a director or producer (very unlikely in the case of unproven talent) or to align with established producers or attached A-list talent that will continue to defend their involvement and support their input (also rare unless there is a pre-existing personal relationship). Otherwise, the screenplay is a literary asset and when it has been sold, it is no longer the property (or business) of the originating writer.
As scriptwriters are hired (and fired), a short list of A-list Actors and Directors is developed (also constantly changing), budgets are approved and producers assigned. For better or for worse, most screenplays are typically being rewritten all the way up to — and sometimes even during — production.
This is essentially the “Script Development” process.
Sometimes an agent will “hop pocket” a client or a production company will do the same with a project that they aren’t willing to “officially” bring on board — but think it merits some extra time and attention in developing to see if they can take the improved product to market.
In these cases, some development executives might offer extensive notes — even in person — almost to test the water to see if the writer is easy enough to work with to warrant their mentorship. These can be tremendous networking and craft and career developing opportunities if received and responded to in the right light.
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