Money and sitcoms Page 3

Quote: beaky @ February 21 2013, 2:52 PM GMT

Obviously I agree with you,Lee - hence this thread! I was afraid some people would think me rather a vulgar fellow to have mentioned the subject...what I really want to know is how much would the Indie pay upfront for a script, before they even got a broadcaster interested? I've just had an option taken for a sitcom, and am waiting for them to send me a contract, so there might be some negotiating to do...

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Again, it depends. An Indie can option your script for a pound. Or they can pay a lot more. I used to disagree with the quid option but I've come around to thinking that if that's the only way you can move your project forward then you should take it. The BBC are different, an option is 10% of a script fee, so about 500 quid. I don't know if that's negotiable, I'm only quoting my experience.

And yes, again, some do think its vulgar. I suppose it all depends on the writer's viewpoint and whether or not he / she is determined to make writing into a regular income and not as a hobby. In any other business - if you were setting yourself up as a plumber for instance - you'd want to know how much you could potentially earn and whether or not you could feed your family. Personally I see no difference but that's because I've been spoiled and have been making a living - albeit an up-and-down one - in writing jokes for a long time, so I have a particularly-skewed view on the whole thing. You write, you get paid. Unfortunately things usually aren't like that though, hah.

Lee, thanks so much for your advice.

Might be worth you talking to an agent.
I've only ever had one TV option contract (I'm mainly screenplays) - but it was 12 pages thick.
I wouldn't have stood a chance.
It's also a good time to get hold of an agent -when you've got something 'live' going on.

Thanks, Lazzard! I'd better buy extra ink for my printer. Are agents really so useful?

Quote: beaky @ February 21 2013, 3:34 PM GMT

Thanks, Lazzard! I'd better buy extra ink for my printer. Are agents really so useful?

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I think you'll get varying responses on that.
Contracts are complicated.
I also think production companies come in with an offer, expecting an agent to push it up a bit - so if you haven't got someone who knows what they're talking about you're probably going to have to make do with that first offer.
Also, things that start all friendly can turn sticky.
That's when you need a) a cast-iron contract in the first place and b) someone to fight your corner when the fur starts flying.
A good agent should also be getting you work - though in my experience you have to be doing at least 50% of the leg work yourself.
They only get paid when you do, so you're not going to be 'out of pocket' in that sense.
And, as I say, they're much easier to get when you have a piece that has attracted interest - so now might be a good time to take the plunge.

Quote: Lazzard @ February 21 2013, 3:52 PM GMT

I think you'll get varying responses on that.
Contracts are complicated.
I also think production companies come in with an offer, expecting an agent to push it up a bit - so if you haven't got someone who knows what they're talking about you're probably going to have to make do with that first offer.
Also, things that start all friendly can turn sticky.
That's when you need a) a cast-iron contract in the first place and b) someone to fight your corner when the fur starts flying.
A good agent should also be getting you work - though in my experience you have to be doing at least 50% of the leg work yourself.
They only get paid when you do, so you're not going to be 'out of pocket' in that sense.
And, as I say, they're much easier to get when you have a piece that has attracted interest - so now might be a good time to take the plunge.

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I'd second that. All good advice.

Quote: Lee Henman @ February 21 2013, 2:34 PM GMT

It always bugs me that the subject of money made from TV writing is treated as a bit gauche and best left alone. There's this ever-present feeling that you should be doing it for the love of it and be grateful to be involved in the industry at all.

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Agreed - and I think the industry likes it that way.
I'm sure it's why the WritersRoom website is awash with spurious homilies like "Writing's not a job - it's an obsession" - anything to stop you bringing up the sticky subject of money.

To quote Irving Thalberg:
"The most important person in the motion picture process is the writer. And we must do everything in our power to prevent them from realising this."

Reminds me of a famous old Chinese Jade sculptor/carver I once read about.

He had all the amazing talent, but never in his life had enough money to afford to buy his own Jade. So he was always in the pockets of the untalented inherited/scammed-money elites who could afford to buy the raw material, and then pay him peanuts for crafting something extraordinary from it.

It was in their best interests to make sure he stayed skint, as a talented artesian with the financial capacity to "go it alone" would have been curtains for them.

IIRC, Tarantino had to sell the rights to the 'True Romance' script, so he could have enough money to make 'Reservoir Dogs' in his own image.

Hmmm...so how to get in touch with an agent...

Quote: beaky @ February 21 2013, 7:30 PM GMT

Hmmm...so how to get in touch with an agent...

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Easy, pick a few names out of the hat and email them. Their emails are usually on the website. Tell them about what you've been up to and politely ask if you can send them a sample of your work. Most will say no but you might strike lucky.

Write for money. Write for fun. But do't let them shaft you up the...

Agents are good to have .

Lee, on this website? Where?

There's this new thingy called 'Google' I hear the kids talking about...

Yeah, just Bing "Google".

Nothing wrong with considering money, there's just a tendency to do that before considering other important questions.
Eg is my script in a format anyone will read? Is it good enough? Etc