It may sound ‘way too high a class’, but the truth is that most professional authors and writers are not aware of the dire need for insurance cover for their work. Variety of writing organizations and companies will even encourage their writers on individual general insurance covers as a shield for their careers, which is more or less a common practice for everyone to have an insurance cover. It important to note to that there is also need for authors and writes insurance for this written work too. Although various insurers may change the name of the cover, nevertheless it is generally known as the media liability cover. Even though the media cover sounds general for the media space, this is the best writers can get from the insurance industry. If you define the writing profession, it would be impossible to exclude bloggers, web content developers, authors, publishers and broadcasters who use writing of any form. Most if not all of these individuals and companies do not realize the relevance of media liability coverage. No one can blame them because there is also a significant percentage of insurance professionals who do not know about authors and writers insurance. So what is the media liability cover? Simple, a coverage that is part of the general liability found in Coverage B, personal, publishing and or advertising injury liability, in a commercial general liability policy. When it comes to such a cover, most writers only learn about when it is too late. Equally, most insurance companies have not trained enough personnel on media liability coverage or at least invest appropriately in advertising it. After all, how do you expect authors to apply for a cover no one can explain every detail about. Clearly, even the writers interested in authors and writers insurance are frustrated by the lack of information on websites of the insurers about the best coverage for this particular professional platform. Many individuals know about insurance from advertisements of the large companies such as Nationwide and Liberty Mutual. Nonetheless, you will be surprised that even these large firms have no media liability covers. Then, why should writers not be frustrated in searching for insurance media coverages. Again, even the small insurance companies find it hard to introduce such a cover into their business models. However, that does not mean the cover is a future affair. If you want to covet an authors and writers insurance, there is always an insurer waiting for you. It is important for professional authors and writers to be interested in taking a cover for their work. Remember, a writer or author may infringe a patent, because personal injuries defame a character and invade privacy. The worst thing is that once information is out you cannot take it back. That means media coverage will come in handy at such a time. Another unique circumstance is when a client wants to avoid paying for writing services and claims the services were not rendered as agreed. Any authors and writers insurance cover will pay for your counsel as the defendant. There you go, get a cover that will protect your career in the long run.
If you are a struggling artist I have no doubt you have had your fair share of different jobs. When I was strap for cash I had several jobs in very different areas. I worked in a factory, loading bay and warehouse where I unloaded Lorries and stored goods. I didn’t mind being a forklift truck driver and think the wages paid are pretty reasonable for a fairly accessible job (there is not a huge amount of training and you can do it fairly cheaply).
Now I recommend trying to get freelancer jobs in writing instead. This can help keep you sharp and hone your skills further whilst making some extra money. You may need to take some lower end jobs to start but they can lead to bigger and better things down the road.
Freelance writing for television shows
In this type of screen writing, the freelance writer uses his previous work experience to get a contract of one or two episodes for which he is hired. In this case the freelance screen writer does work hard to get this contract by telling the production companies why he or she is the right fit for writing that screenplay.
A staff writer who is generally called a story editor or sometimes produces is someone who makes alteration in the content to maintain the original tone, theme, style etc of the show.
Screen writing on daily basis
Writing content for soap commercials or other stuff like this is different from writing content for episodes which are played 5 times a week. So the content writer has to come with a script for each of these 5 episodes that will be played on the television.
This type of work is done in three layers, first consists of top writers who have to make the theme of the overall episode, than there are mid-level writers who take this overall theme and turns them to outlines which are according to the theme that has been designed by the first class writer, at the last level there are writer who receive theme and outlines from which they write catchy comments that will be displayed on the screen. This is the whole process of screen writing in a TV show that you see five times a week.
Screen writing for game shows
Even though game shows feature live contestants but there are some parts where you need an assistance of some writer.
The writer designs the overall flow of the game show and does work for the host of the show who uses some specific dialogues at certain points in the show. They may also need a writer when asking questions to the contestant through a slate on which questions are printed.
Video game writing
Hiring someone who screen writing in video game wasn’t necessary in the past but with the increase in the complexity of the video game has made it absolutely necessary for the video game producer to hire a writer for certain tasks
Screen writing has been a very important position for hundreds of years since the advent of dramas whether they are stage dramas or TV shows.
The 35 year old Samoan moved to New Zealand in the 70s and could never read or write in English even though he could speak the language well. After some time and getting back to school for English lessons he was able to put pen to paper.
Mr Sao is still having to work on odd construction jobs here and there but supplements his free time with creative writing. He is now working on a screenplay that is going to be published soon.
Anyone who collaborates on a screenplay and adds to it has some copyrights. It is important to realise even if you have not physically typed out the work if you have created it in partnership you still have rights to the work. In a joint authorship all authors will have to sign off in agreement concerning assignment or rights to the work.
Co authorship is when writers produce small parts of worth of which each author will own. For example the first author writes the 1st scene and the 2nd the 2nd scene. Each will own their own scene and have writes to the work. This will all have to be agreed buy producers.
Having these things worked out clearly and transparently is always a good thing. Each artist should be made aware of how these things work.
There has been a famous story where Matthew Fisher an organist in the bad Procol Harum brought about legal claims of copyright for the song “A whiter Shade of Pale”. The case was brought to court and Fisher was awarded the rights as joint author to the song.
Scripts not only show you a compelling story but will summarise all other moving and non-moving parts in the production. For example the tone used, actions taken, expressions and emotion, these should all be expressed within the script. A script is actually just the guideline of the production and will often been changed considerably as it is interpreted.
It is important to remember that you are not narrating the story but showing it off in a visual way. A certain look, a grunt or smile may be all that is needed to convey certain parts of it.
So now we know what separates a script from a story but our story still needs to be compelling, interesting and make people feel something.
If we look at the story from a 10,000ft view often we need a central “thing” that the main character desires more than anything. This thing can come in various forms; it might be true love, treasure, freedom or even saving the planet from sure destruction. Right away this solves many problems in the details of the story. The audience can feel empathy for the main character, the plot has an interesting central theme and we can gage how far or near the main character is to completing the quest and the stories end.
What will make the story interesting and dramatic are the obstacles facing our hero in his search to complete the quest. This can be villains, aliens or even family standing in his way. It can be a physical or emotional conflict. Think of show downs against aliens that have invaded earth or psychological blackmail from loved ones stopping you from showing your true colours.
Using these concepts in interesting ways is where we can stand out from the crowd.