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{{short description|Person who writes for films, TV shows, comics, and games}}
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[[File:Screenplay example.svg|right|thumb|250px|A page of a screenplay, showcasing character dialogue, scene transitions, sluglines, and action lines]]

A '''[[screenwriter]]''' (also called '''scriptwriter''', '''scribe''', or '''scenarist''') is a person who practices the craft of writing for visual mass media, known as [[screenwriting]]. These can include short films, feature-length films, television programs, television commercials, video games, and the growing area of online web series.<ref>{{Cite web |last=Chen |first=Jeff |date=2021-03-14 |title=Screenwriter: Everything You Need to Know |url=https://www.nfi.edu/screenwriter/ |access-date=2024-11-07 |website=NFI |language=en-US}}</ref>

==Terminology==
{{see also|Screenplay#History}}
In the [[silent era]], screenwriters were denoted by terms such as '''photoplaywright''', '''photoplay writer''', '''photoplay dramatist''', and '''screen playwright'''.<ref name="Maras">Maras, Steven. ''Screenwriting: History, Theory and Practice'', Wallflower Press, 2009, pp. 82–85. {{ISBN|9781905674824}}</ref> Screenwriting historian Steven Maras notes that these early writers were often understood as being the authors of the films as shown, and argues that they could not be precisely equated with present-day screenwriters because they were responsible for a technical product, a brief "[[Film scenario|scenario]]", "treatment", or "synopsis" that is a written synopsis of what is to be filmed.<ref name="Maras"/>

==Profession==
Screenwriting is typically a contracted freelance profession, not a hired position. No education is required to be a professional screenwriter, but good [[storytelling]] abilities and [[imagination]] give aspiring screenwriters an advantage. Many screenwriters start their careers doing [[speculative work]] ("work on spec"), practicing their screenwriting with no guaranteed financial compensation. If one of these scripts is sold, it is called a [[spec script]]. Amateur screenwriters will often pursue this work as "writers in training," leading these spec scripts to often go uncredited or come from unknown screenwriters.

Further separating professional and amateur screenwriters is that professionals are usually represented by a [[talent agency]]. These screenwriter-specific employment agencies work to handle the business side of the screenwriting job, typically taking on legal, financial, and other important representative roles for the screenwriter.<ref>{{Cite journal |last1=Bielby |first1=William T. |last2=Bielby |first2=Denise D. |date=February 1999 |title=Organizational Mediation of Project-Based Labor Markets: Talent Agencies and the Careers of Screenwriters |url=http://journals.sagepub.com/doi/10.1177/000312249906400106 |journal=American Sociological Review |language=en |volume=64 |issue=1 |pages=64–85 |doi=10.1177/000312249906400106 |issn=0003-1224|url-access=subscription }}</ref> These professional screenwriters rarely work for free.

There are a legion of would-be screenwriters who attempt to enter the [[film industry]], but it often takes years of trial and error, failure, and gritty persistence to achieve success. In ''Writing Screenplays that Sell'', Michael Hague writes, "Screenplays have become, for the last half of [the twentieth] century, what the [[Great American Novel]] was for the first half. Closet writers who used to dream of the glory of getting into print now dream of seeing their story on the big or small screen."<ref name=Hauge>{{cite book |last=Hauge |first=Michael |title=Writing Screenplays That Sell |year=1991 |publisher=HarperPerennial |isbn=9780062725004 |url=https://archive.org/details/writingscreenpla00haug_0 |url-access=registration}}</ref>

==Film industry==
Every screenplay and teleplay begins with a thought or idea, and screenwriters use their ideas to write scripts, with the intention of selling them and having them produced.<ref name="Ferguson 2009">{{cite journal |last=Ferguson |first=Brooks |title=Creativity and integrity: Marketing the "in development" screenplay |journal=Psychology and Marketing |date=17 April 2009 |volume=26 |issue=5 |pages=421–444 |doi=10.1002/mar.20281 |doi-access=}}</ref> In some cases the script is based on an existing property, such as a book or person's life story, which is adapted by the screenwriter. In most cases, a film project is initiated by a screenwriter. The initiator of the project gets the exclusive writing assignment.<ref name="Ferguson 2009"/> They are referred to as "exclusive" assignments or "pitched" assignments. Screenwriters who often pitch new projects, whether original or an adaptation, often do not have to worry about competing for assignments and are often more successful. When word is put out about a project that a [[film studio]], [[production company]], or producer wants done, they are referred to as "open" assignments. Open assignments are more competitive. If screenwriters are competing for an open assignment, more established writers usually win the assignments. A screenwriter can also be approached and personally offered a writing assignment.

==Script doctoring==
Many screenwriters also work as full- or part-time [[script doctor]]s, attempting to better a script to suit the desires of a director or [[Movie studio|studio]]. For instance, studio management may have a complaint that the motivations of the characters are unclear or that the dialogue is weak.

Hollywood has shifted writers onto and off projects since its earliest days, and the assignment of credits is not always straightforward or complete, which poses a problem for film study. In his book ''Talking Pictures'', [[Richard Corliss]] discussed the historian's dilemma: "A writer may be given screen credit for work he didn't do (as with [[Sidney Buchman]] on ''[[Holiday (1938 film)|Holiday]]''), or be denied credit for work he did do (as with Sidney Buchman on ''[[The Awful Truth]]'')."<ref>Corliss, Richard. ''Talking Pictures: Screenwriters in the American Cinema, 1927–1973'', Overlook Books, 1974, p. 78</ref>

==Development process==
After a screenwriter finishes a project, they pair with an industry-based representative, such as a producer, director, [[literary agent]], entertainment lawyer, or entertainment executive. The partnerships often pitch their project to investors or others in a position to further a project. Once the script is sold, the writer has only the rights that were agreed with the purchaser.<ref name="Ferguson 2009"/>

A screenwriter becomes credible by having work that is recognized, which gives the writer the opportunity to earn a higher income.<ref name="Ferguson 2009"/> As more films are produced independently (outside the studio system), many up-and-coming screenwriters are turning to pitch fests, screenplay contests, and independent development services to gain access to established and credible independent producers. Many development executives are now working independently to incubate their own pet projects.

Online platforms such as [https://writeseen.com WriteSeen] have emerged to help screenwriters showcase their scripts, pitch projects, and receive industry feedback in digitally timestamped environments.<ref>{{Cite web |title=WriteSeen: The Free Platform Helping Writers and Filmmakers Get Seen |url=https://nofilmschool.com/writeseen |website=No Film School |date=2025-05-15 |access-date=2025-07-24}}</ref>

==Production involvement==
Screenwriters are rarely involved in the production of a film. Sometimes they come on as advisors, or if they are established, as a producer. Some screenwriters also direct. Although many scripts are sold each year, many do not make it into production because the number of scripts that are purchased every year exceeds the number of professional directors that are working in the film and [[TV industry]]. When a screenwriter finishes a project and sells it to a [[film studio]], [[production company]], TV network, or producer, they often have to continue networking, mainly with directors or executives, and push to have their projects "chosen" and turned into films or TV shows. If interest in a script begins to fade, a project can go dead.

==Unions==
The [[International Affiliation of Writers Guilds]] (IAWG) is the international federation of screenwriters' and playwrights' unions, who recognize union membership across international borders. They have 14 different affiliates across various nations who collectively work to verify original authorship, fight for fair compensation, and enforce copyright.<ref>{{Cite web |title=International Affiliation of Writers Guilds |url=http://iawg.org/index.html |access-date=2024-11-07 |website=iawg.org}}</ref>

Most professional screenwriters in the U.S. are [[unionized]] and are represented by the [[Writers Guild of America]] (WGA). Although membership in the WGA is recommended, it is not required of a screenwriter to join. The WGA is the final arbiter on awarding [[WGA screenwriting credit system|writing credit]] for projects under its jurisdiction. The WGA also looks upon and verifies film copyright materials.<ref>{{Cite web |title=Writers Guild America West |url=https://www.wga.org/ |access-date=2024-11-07 |website=www.wga.org |language=en}}</ref>

Other notable screenwriters' unions include the [[Writers' Guild of Great Britain]], representing screenwriters in the UK, and La Guilde Française des Scénaristes, representing screenwriters in France.

==Salary==
Minimum salaries for union screenwriters in the US are set by the [[Writers Guild of America]]. The median compensation for a first draft from a first time screenwriter is $100,000, while the most experienced members have a median compensation of $450,000. The most experienced WGA members have reported up to $4,000,000 compensation for a first draft. Multi-step deals, where the writer is signed on for more than the first draft (typically including a rewrite) can earn a screenwriter more, with experienced WGA members earning up to $5,000,000 for their work.<ref>{{Cite web |title=Screen Compensation Guide |url=https://www.wga.org/members/employment-resources/writers-deal-hub/screen-compensation-guide |access-date=2024-11-07 |website=www.wga.org |language=en}}</ref>

Non-union screenwriters can also work for a salary, but will typically earn less than a unionized screenwriter. Pay can vary dramatically for a non-unionized screenwriter.

===Definitions===
{{More citations needed section|date=November 2014|}}
*'''Against''': A word used to describe a script's unproduced price relative to its value if approved for production—for example, if a script is sold for $300,000, but the writer gains an extra $200,000 if it leads to production, the screenwriter's salary is described as "$300,000 against $500,000".{{citation needed|date=November 2014}}
* '''[[Option (filmmaking)|Option]]''': If a script is not purchased, it may be optioned. An option is money paid in exchange for the right (the "option") to produce—and therefore to purchase outright—a screenplay, treatment, or other work within a certain period.
* '''Feature assignment''': The writer writes the script on assignment under contract with a studio, production company, or individual.
* '''[[Pitch (filmmaking)|Pitch]]''': The writer holds a five- to twenty-minute presentation of the film to buyers in a short meeting.
* '''Rewriting''': The writer rewrites someone else's script for pay. The writer pitches their "take", much like they would an original pitch.
* '''[[Spec script]]''': Short for "speculative" or "on speculation" as in; "She wrote her script on spec". The writer writes the script (original or someone else's idea) without being paid, and, subsequently, tries to sell it.

===History===
* '''1900''': One of the U.S.'s first screenwriters, New York journalist [[Roy McCardell]], is hired to write ten scenarios (each about 90 seconds long) for $15 each ({{inflation|US|15|1900|fmt=eq}}).{{inflation-fn|US}}
* '''1949''': [[Ben Hecht]] is paid $10,000 a week (about ${{inflation|US|10000|1949|fmt=c|r=0}} in {{inflation-year|US}}).<ref>{{cite web|url=https://www.imdb.com/name/nm0372942/bio|title=Ben Hecht|website=IMDb|access-date=20 December 2018}}</ref> Claims [[David O. Selznick]] paid him $3,500 a day (about ${{inflation|US|3500|1949|fmt=c|r=-2}} in {{inflation-year|US}}).
* '''1984''': [[Shane Black]] sells the screenplay to ''[[Lethal Weapon]]'' for $250,000.
* '''1990''': Kathy McWorter, who was promoted by her agent as a 21-year-old ''wunderkind'', though in fact she was 28 years old, sells her sex comedy ''The Cheese Stands Alone'' for $1&nbsp;million.<ref>{{cite news |title=Screenwriters Adjust to Being Bit Players Again |date=9 December 2001 |work=[[The New York Times]] |url=https://www.nytimes.com/2001/12/09/movies/film-screenwriters-adjust-to-being-bit-players-again.html?pagewanted=2}}</ref> This was followed by nuclear-terrorist technothriller ''The Ultimatum'' by [[Laurence Dworet]] and Robert Roy Pool, and WWII action comedy ''Hell Bent... and Back!'' by [[Doug Richardson]] and [[Rick Jaffa]], both of which sold for a million dollars. None of these movies has been produced so far.
* '''1992''': [[Sherry Lansing]] is hired<ref>{{cite web |last=Lowry |first=Brian |title=Lansing in new Par pic post |url=http://variety.com/1992/film/news/lansing-in-new-par-pic-post-100695/ |website=Variety |access-date=7 June 2020 |date=5 November 1992}}</ref> to run [[Paramount Pictures|Paramount]] and spends $3.6&nbsp;million in less than a week, $2.5&nbsp;million for a two-page outline of ''[[Jade (1995 film)|Jade]]'' by [[Joe Eszterhas]],<ref>{{cite web |last=Marx |first=Andy |title='Jade' deal a $2.5 mil gem |url=http://variety.com/1992/film/news/jade-deal-a-2-5-mil-gem-100619/ |website=Variety |access-date=7 June 2020 |date=9 November 1992}}</ref> and $1.1&nbsp;million (about ${{Inflation|index=US|value=1,100,000|start_year=1992|end_year=2018|r=0|fmt=c|cursign=$}} in 2018) for the script ''[[Milk Money (film)|Milk Money]]'' by [[John Mattson]].<ref name="MiMo">{{cite web |last=Eller |first=Claudia |title=Par in 'Money' as DDLC riled |url=http://variety.com/1992/film/news/par-in-money-as-ddlc-riled-100574/ |website=Variety |access-date=7 June 2020 |date=13 November 1992}}</ref> Both deals are records, respectively, for outlines and romantic comedy specs.
* '''2005''': [[Terry Rossio]] and [[Bill Marsilii]] are paid $3&nbsp;million against $5&nbsp;million for the script of ''[[Déjà Vu (2006 film)|Déjà Vu]]''.<ref name="latimes">{{cite web|url=https://www.latimes.com/archives/la-xpm-2005-may-16-et-writers16-story.html|title=A tale of Hollywood e-harmony|first=Chris|last=Lee|date=16 May 2005|work=Los Angeles Times|access-date=20 December 2018}}</ref>

===Current records===
Some of the highest amounts paid to writers for spec screenplays:

'''$5 million:'''
* ''[[Déjà Vu (2006 film)|Déjà Vu]]'' by [[Terry Rossio]] and [[Bill Marsilii]]<ref name="latimes"/>

'''$2&nbsp;million:'''
* ''Arthur & Lancelot'' '''(unproduced)''' by [[David Dobkin (director)|David Dobkin]]<ref>{{cite web|last=Myers|first=Scott|title=Spec Script Sale: "Arthur & Lancelot"|url=http://gointothestory.blcklst.com/2011/06/spec-script-sale-king-arthur.html|publisher=Go into The Story|access-date=29 November 2012}}</ref>

'''$1&nbsp;million:'''
*''[[Milk Money (film)|Milk Money]]'' by [[John Mattson]] ($1.1&nbsp;million, outright purchase<ref name="MiMo"/>)
*''Epsilon'' '''(unproduced)''' by [[Rhett Reese]] and [[Paul Wernick]]<ref name=":0">{{cite web|last=Kit|first=Borys|title='Zombieland' Writers Sell Sci-Fi Project 'Epsilon' to Sony (Exclusive)|url=https://www.hollywoodreporter.com/heat-vision/zombieland-rhett-reese-paul-wernick-sci-fi-movies-369701|work=The Hollywood Reporter|date=12 September 2012 |access-date=29 November 2012}}</ref> ("Sources say the Sony deal closed in the $1 million range."<ref name=":0" />)
* ''[[The Imitation Game]]'' by [[Graham Moore (writer)|Graham Moore]], at "seven figures" to [[Warner Brothers]]<ref>{{cite web|url=https://deadline.com/2011/10/warner-bros-buys-spec-script-about-math-genius-biopic-because-leonardo-di-caprio-chasing-lead-role-181822/|title=Warner Bros Buys Spec Script About Math Genius Alan Turing For Leonardo DiCaprio|first=Nikki|last=Finke|date=12 October 2011|publisher=|access-date=20 December 2018}}</ref>

==See also==
* [[Film crew]]
* [[First-look deal]]
* [[Lists of screenwriters]]
* [[List of screenwriting software]]
* [[Playwright]]
* [[Script (comics)]]
* [[Showrunner]]
* [[Television crew]]
* [[Television director]]
* [[Television program creator]]

==Further reading==
*[[Patrick McGilligan (biographer)|McGilligan, Patrick]]. ''[https://archive.org/details/backstory-interviews-with-screenwriters-of-hollywoods-golden-age Backstory: Interviews with Screenwriters of Hollywood's Golden Age]''. Berkeley:  University of California Press,  1986.
*[[Patrick McGilligan (biographer)|McGilligan, Patrick]]. ''[https://publishing.cdlib.org/ucpressebooks/view?docId=ft0z09n7m0 Backstory 2: Interviews with Screenwriters of the 1940s and 1950s]''. Berkeley:  University of California Press,  1991.
*[[Patrick McGilligan (biographer)|McGilligan, Patrick]]. ''[https://publishing.cdlib.org/ucpressebooks/view?docId=ft138nb0zm Backstory 3: Interviews with Screenwriters of the 60s]''. Berkeley:  University of California Press, 1997.

==References==
{{reflist}}

==External links==
*{{Commons category-inline|Screenwriters}}
*[http://www.gointothestory.com/2009/01/spec-script-sales-analysis-2008-big.html Spec Script Sales Analysis 2008: Top Sales]

{{Film crew}}
{{TV production}}

{{Authority control}}

[[Category:Writing occupations]]
[[Category:Mass media occupations]]
[[Category:Screenwriters| ]]