1. By Tristan Kassam WRITING FOR TELEVISION AND VIDEO: COMMISSIONING PROCESS

2. JOB ROLES

3. COMMISSIONING EDITOR The primary role of a commissioning editor is to select programme ideas, which are good enough to be aired onto television. The commissioning editor will look through all of the submitted scripts, before choosing ideas that they think will work well. Once they have chosen ideas, they will allocate the production company with a budget so they are able to create their product. Commissioning editors work very closely to the writers during this process. There are often different commissioning editors for a specific genre, for example, there would be a different person selecting ideas for a drama production compared to a person choosing ideas for a comedy. They will also overlook a production once they have given the company the money to produce it. They follow the production all the way through until it is completed and then released. There are certain skills needed for this role, such as: Organizational and planning skills, communication skills, negotiating skills and good project management.

4. WRITER A writer (script/screen-writer) is responsible for creating scripts that can be based on either an original idea, or an adaptation of an existing idea. When writing scripts, the writer is responsible for describing the stories in more detail, including physical environments and thinking about the moods of the character. As well as telling a story in a quick and clear way. Prior to a production, screenwriters might produce a synopsis, as well as several scenes of a story. Writers in the media industry often work freelance. To become a professional screenwriter, no educating or degree is needed. Many writers will just start writing scripts without being hired, so it is just a way for them to get their ideas down onto paper. Writing a script is one of the first steps during the commissioning process. Writers usually work to a deadline in order for the production to start on time. Time management is very important for writers as they do not want to delay time for a production, however it can be a bad thing as they may get ‘writer’s block’. Scripts are documents that present a story meant to be filmed, which means that that a script requires less physical description.

5. PRODUCER The role of a producer is to deal with all areas of a production that the director doesn’t deal with. This includes overseeing and dealing with certain tasks, such as; legal issues, cast and crew, budget and the marketing of the product. Producers work closely with directors and other production staff on the shoot. The producer will have control over who the director is, as well as choosing what actors will play each character. Producers arrange funding for each project and are responsible for keeping the production within the allocated budget. The producer is the one who organizes everything. They make sure that everything is sorted before a production, such as props, costumes, actors are booked, facts are correct and everything is prepared beforehand. A producer is the one responsible for an entire show/film.

6. DIRECTOR The director will take the idea that was pitched and will turn it into the images and sound that audience will finally see. The director is in charge of all aspects of a shoot, they are responsible for supervising the placement of cameras, any lighting equipment, microphones and props etc. The director will need to make sure that everything is working before preparing everyone to film. The director has full control on what is happening on set. For example, they can direct the Director of Photography on certain shots that are needed and direct the cast on what to do during a scene. They can also direct the editor during post-production stages on what shots to use and sometimes to delete entire scenes from the product. The director literally translates a script into visuals. They will have an image in their head of what they want to create.

7. WRITER AND DIRECTORS RELATIONSHIP Writers and Directors are normally very close in a production. Writers always want to make sure that in the making of the production the director keeps to the script. In some productions some directors don’t want writers to be on set. Each Director will have there reasoning why, but for most of them its plain insecurity. The reason for this is because the writer has a higher level of authority of the text of the production that the director will never have. If an actor was to say “why does my character say this?” and the director and Writer give off two different answers, which one is better to trust? Probably the person who wrote it in the first place. Now, the chain of command would normally stop this from happening. Actors would only ask their questions to the director. The only time this wouldn’t happen is if the director is inexperienced and the actors feel like he doesn’t know what he is doing. The point that should be drawn from this is, if a director is working from someone else’s script, he should set the bar very high for himself. He should know the script, the characters and the world of screenplay as good, if not better than the writer himself. Then there would be no need for the writer to be on set and question the director’s ability at following their script. Also, if he knows the script as well as the writer, he will be able to work effectively with the writer without fear of his authority coming in to the question.

8. SCRIPT EDITOR Script Editors do not simply just edit scripts, they have many different responsibilities including developing the storyline, ensuring the scripts are suitable for production and finding new writers for scripts. During each draft of the script the script editor will work with the writer, giving them tips, suggesting improvements and ensuring that the length of the script adheres to the running time of the production. Script editors will usually work closely with the producers during production. The script editor will look through a script and can change certain sections of it, sometimes changing scenes, adding scenes or getting rid of certain parts. They can also change a script if the director is not happy with it. They work very closely with the writer, making sure that they create the best script that they can. Script editors will also overlook any continuity errors.

9. AGENT An agent is someone who is given permission to act on behalf of someone else through employment, by contract or apparent authority. An agent is someone who is asked from the director to find suitable people to play the roles and send them forward for auditions. The agent will need to know everything about the client to be able to get the best job for them; this is so that they can get the perfect match with the jobs advertised. Agents are either special or general. An agent will be in charge of managing business, financial and contractual matters for an actor, performer or writer. If you wanted a specific actor/actress to star in TV show or film, then you would speak to their agent beforehand.

10. COMMISSIONING BODIES

11. Commissioning bodies are the company that releases the final productions. They make their money by sales of the film and the revenue that the box office makes. A corporation doesn’t want a programme or film to not succeed and make a loss. Examples of film commissioning bodies are; Warner Brothers and Disney. Independent films are still full-length films but just not released by big companies such as Warner Brothers. Instead independent companies release them. The writers that work with independent companies are normally unknown and so are cheaper to work with. Some examples of these companies are; Lions Gate Films, Film4 etc. These companies also help out people who want to make a career out of making indie movies. Directors of independent movies normally produce the script and screenplay themselves, or are a big part of the screen writing process. It is difficult for independent directors to be able to fund their own screenplays and to make their film a reality. Normally people who work on independent films have multiple roles to keep the budget down of the production. If you are a writer who wants your screenplays to be made in to films, you can enter you work in competitions. Organizations such as BCC Writers Room do competitions like these. The competition requirements can variety from different lengths and genres, or sometimes there are no requirements. If you win you can receive a cash prize or a chance to get your screenplay developed into a real production.

12. What commissioning body? As a new writer, I would think that the BBC (British Broadcasting Corporation) would be the best commissioning body to pitch a new idea to. This is because they are always offering opportunities to upcoming writers, which will help them to start writing their ideas down. The BBC also offer different schemes for writers, such as the ‘Writer’s Room’. This is an online platform that works as a useful guide for upcoming writers. The BBC also caters for different genres, which means that it is a commissioning body that is aimed at a broad range of writers and writing styles. http://www.bbc.co.uk/writersroom/ Writer and Agent: Woody Allen Woody Allen started his career at the age of 15 years writing jokes for the local paper. Then he got spotted by some agents (Charles Joffe and Jack Rollins). They brought him in to stand up. With success in stand up, he was approached to write a script for “What's New Pussy Cat (1965). Over the years Woody has made some transitions in his films. He’s gone from comedy to romance. Although his stories have changed over time. He is still regarded as one of the best filmmakers of our time because of his views on art and his mastery of filmmaking.

13. Agent Representation: This is when a writer will find someone to represent them. The agent will play an important part in communication and publicity for the writer, as they will have to work with most people during the commissioning process. Royalty Payments: Royalty payments are where the writer of a script (and possibly the agent) receives money every time the finished film or programme is aired on television. The payments are split between the writer, agents and the producers. Professional Presentation: A writer is expected to have professional presentation with their work. Making sure to double check all the work before pitching a script or handing to other team members means that the reading and editing process is significantly shorter and a lot more straightforward. Time Management: Time management is a very big responsibility for a writer, as they need to have their work completed on time to meet a deadline.. This is because if you are late handing in a script you will delay the production process.

14. THE WRITER’S ROLE THROUGHOUT THE COMMISSIONING PROCESS As a writer, you have to deal with many stages, these being: Pre-Production and Planning: At this stage, the writer will either have a first draft of a script, or will be commissioned by a producer to write a script. In this stage, the writer and director will work closely to decide upon and perfect an idea. Script-Editing: During this stage, the writer will work with a script-editor to make sure that the agreed storyline is being kept to. The script will have gone through a few drafts, and will have been read through a few times to make sure it sounds right, and that everyone understands. Director or Producer Involvement: Dependent on the person, the producer will either be very involved with the development of the script and the writer, or will have minimum involvement. The producer will always be in contact with the director to make sure that the project is running according to plan, and will be the final say in script changes. Shooting Script Production: The shooting script is the translated by the director for use during production. It includes a lot more direction and technical jargon so the crew know what is going on. The writer will be present during this stage to ensure that the script is being kept to the original storyline as closely as possible, as the director may have to change aspects of the story. Page Lock-Down: At this stage, the script will have reached the final draft. The writer will then work with the director and producer to ‘lock’ pages of the script that don’t require any more editing, thus making them ready for the production process. If any changes are made,, they are coded and sent as separate pages. Adjustment during Shooting Stage: During this stage, particular elements of the script may not be suitable for filming, so the script will require editing during the production stage. The writer will work closely with the director to decide on suitable alternative.

15. ETHICAL AND LEGAL CONSTRAINT S

16. As a writer, you will need to consider the following constraints: Copyright: Copyright is a law which covers literary, dramatic, musical, artistic works, sound recordings, broadcasts and films. The law is there to protect the work and gives the owner control over it. Bias: Bias is prejudice for or against a person or a group in a way that is considered to be unfair. Censorship: This is when something that is said or shown is to be covered or taken out, this is so that young individuals don’t hear and copy the inappropriate language. Watershed: Watershed is the time when adult content may be shown on the television. Libel: This is a published false statement that can damage a person’s reputation. Plagiarism: Plagiarism is when someone takes work that has not been done by them. This is not a crime, however it is an ethical offence.