Скачать с ютуб HOW MUCH MONEY DO TELEVISION WRITERS MAKE? Part 2 of 2. How to be a writer for TV and Streaming. в хорошем качестве

HOW MUCH MONEY DO TELEVISION WRITERS MAKE? Part 2 of 2. How to be a writer for TV and Streaming.

HOW MUCH MONEY DO TELEVISION WRITERS MAKE? Part 2 of 2. How to be a writer for TV and Streaming. Writing for TV can be fun and lucrative. If you want to learn how to be a TV writer and write scripts and teleplays for Networks, Amazon, Apple, Hulu, Disney Plus, Netflix and other New Media, here's how you can get started. Network, Amazon, Netflix! Today we’re going to take a close look at just how much Television writers get paid. I’m going to warn you, though, some of the deals that have been made recently for top talent might make you want to quit your day job, fire up your computer, and write FADE IN before the end of this video. We’re talking about some serious money. So stick around and get a pen, especially if you are interested in getting into writing for television yourself. We’re going to break down the various levels of television writing, how a writers room works, and just how much the average TV writer makes. Writing for television is kind of like the farm system for Major League Baseball. If you’re lucky, you get drafted out of college in single A, work on your pitch delivery, spend a couple of years working your way through the minors before you might get called up to the Show. Then, you have to work with a team day in day out, working to provide value to Showrunner, who’s like the manager of the team. You’ll need to keep your head down, mouth shut, ears open, and work like crazy just to keep your seat. If you’re lucky, you’ll move up the ranks, make connections with executives at the network, and eventually, you might get rewarded with a show of your own. That’s when things really get interesting. So where do you start? Well, the first thing you’ll need is a sample script. If you don’t know how to write a sample script, I suggest you Google it and get to work. But once you have a sample script, now you’ve got to get people to read it. That’s also beyond the scope of this video, but suffice to say that you’ve got to put yourself out there and make connections. And you’ll want to write more than just one. I have a very successful producer friend who created one of the biggest shows of the 90s who says that whenever people ask him to read their scripts, he asks them to give him five scripts they’ve completed and tell him which one of those they want him to read. It’s his way of weeding out the wanna-bes from the real writers. Writer’s write, so don’t think you can get by with just writing one script and thinking the world will beat a path to your door. You’ll get better with every script, and if you work hard, you can get people to read them and start referring you. Most TV shows have what’s called a writer’s room. It’s exactly what it sounds like. It’s literally a room full of writers. 9am rolls around and everyone reports for duty with their best ideas. The Showrunner, literally the person who runs the show, will present either an idea, an outline, or a first draft of a script, and then start asking for ideas to fill it in, make it better, or figure out the season long storyline. Each style of television has their own style of writing, and each Showrunner has their own style of running the room, or managing how those shows get written. Now, not everyone in the room has the same amount of say. When you first start out as a staff writer, you’re at the bottom of the TV power grid. Depending on the size of the show, there are several layers of writers, and seniority is a big thing. Usually you’ll be a staff writer for a season or more, after which you might get promoted to story editor. From there it goes Executive Story Editor, then co-producer, Producer, Supervising Producer, Co-Executive Producer, Executive Producer and finally Showrunner, who also has an Executive Producer Credit. Sometimes you might jump a level or two, depending on the show, or if you leave one show to go to another, but generally you need to build up time and experience for Networks to consider you worthy of creating and running your own TV show. To be a Showrunner is a massive amount of responsibility. You are literally the person running the show. You make decisions about everything. The writing, the casting, the sets, hiring the director, the crew, overseeing the editing, the music, the sound design, basically it is your responsibility to deliver a show to the Network and then deal with their notes as well. Companies like Netflix, Amazon and Apple are making rich overall deals with creators to make TV for their platforms. Recently, Glee and American Horror Story creator Ryan Murphy signed a five year, $300 million dollar deal with Netflix. Grey’s Anatomy creator Shonda Rhimes also signed a deal with Netflix for four years at a reported $100 million dollars. And Alias and Lost Creator JJ Abrams signed a deal with Warner Media for a reporter $250 dollar deal. Yes, the rich get richer. All right, go get ‘em guys. We’ll see ya soon.