Before a producer can hire a writer they need to find one. There are several ways to do this.
- Call an agent that reps animation writers.
- Contact the writers of successful animated series or features.
- Ask experienced producers and associates for recommendations.
- Check IMDb.com
- Search with Google
Once you’ve contacted a writer, ask them the following questions:
- What have you written?
If you need a screenplay written, ask them for their best script in the genre you are looking for. If you need a series written ask for a script they’ve written for a series similar to yours. If they don’t have any samples then they don’t have enough experience. It’s always best to read a first draft to see the writer’s unedited work. If they have an outline read that too. The outline is where the structure is plotted out. If they can’t write a good outline they won’t write a good script. This is especially true for screenplays.
2. Have any of your scripts been produced?
If you want a professional writer this is vital. They don’t have to have a lot of produced credits. One could be enough if it’s a well-structured and written script. It’s okay to hire a rookie if you’re convinced they are good, but hiring a pro increases your odds of getting a producible, successful script. A professional series writer will take a lot of pressure off a producer because they can turn out good scripts on schedule. Paying a little more for a pro will save money in the long run by saving time and reduce rewrites and unproduceable scripts.
3. What genres do you prefer to write?
It’s certainly best if the writer has experience in the genre you are looking for. But don’t pigeonhole the writer. Just because they’ve written a lot of comedy doesn’t mean they can’t write drama. A good writer is a good writer.
4. What do you think about the material/concept?
Listen carefully to the writer as they describe their interest in your project. Do they contribute something to it? If a writer is really responding to your concept they will be creative with it and have good ideas. This is critical to finding the right writer.
If your project is on a tight schedule, ask:
5. How long will it take you to write this project?
A good writer should be able to write a half-hour animation script in two weeks, or a screenplay (first draft, revision and polish) in 12 weeks plus turnaround time.
Here are some questions that aren’t directly asked of the writer but that you should think about when interviewing them. They are helpful in learning whether or not the prospective writer is knowledgeable, certain, confident, friendly, professional and creative.
6. How do they communicate?
Talk to them. See if they know their business. If they cannot communicate well with you they likely will not communicate well in a script. Are they funny? Are they friendly? Are they sane? You may be working with this person for some time and if they’re not a pro you don’t need the aggravation.
7. What do others say about their writing?
Query the producers they’ve worked with. Do they have kudos and/or awards? A good recommendation and an award or two don’t guarantee a good script, but they definitely increase your odds of getting one.
The last question you should ask a writer is:
8. What is your fee for __________?
Properly filling in the blank is vital. I am amazed at how many studios contact me and ask, “How much do you charge for a script?” That’s like asking a jeweler, “How much is a diamond ring?” It’s not enough information. Before a producer asks for a fee quote they need to tell the writer exactly what they need:
- The type of material (TV script, feature screenplay, webisode, series bible, etc.)
- The length of the project (in time or number of pages)
- What amount of existing material there is to start with (concept only, treatment, spin-off of another production, first draft in need of rewrite, book adaptation, nothing)
- The schedule (a rush job often requires a higher fee, or the writer may be slow and you need to find another writer)
Many writers have what’s known as a quote (this is the last fee they were paid for similar work). A fair fee is their quote plus a small increase.
Some writers base their fees on the production budget. Ferraris cost more than Vespa’s and scripts for US $20 million productions cost more than scripts for US $2 million productions.
Producers should be willing to negotiate the fees. Many producers never call back when they get an initial quote that is more than they want to spend. Don’t do this!! If the fee is too high tell the writer what your budget can afford. Give them a counter offer. Don’t assume you can’t afford them. There are many ways to structure a deal. Fees can be deferred until production or decreased in exchange for back end participation.
Don’t lowball a writer. You get what you pay for. The writing is the most important creative element of any series or film. Viewers are interested in character and stories, not pretty animation. A wise producer makes sure the script is as good as it can be even if it means paying more for it.
And finally, never think that you cannot afford to hire a professional writer. The truth is you cannot afford not to.
©Jeffrey Scott, All Rights Reserved
(Jeffrey Scott has written over 700 animated and live-action TV and film scripts for Sony, Warner Bros., Disney, Marvel, Universal, Paramount, Columbia, Big Animation, Hanna-Barbera and others. His writing has been honoured with three Emmys and the Humanitas Prize. He is author of the acclaimed book, How to Write for Animation. To work with Jeffrey visit his website at www.JeffreyScott.tv.)
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