A screenwriter is hired for a negotiated fee to write or rewrite a script within a certain timeframe. The writer is guaranteed of payment if he/she fulfills the terms of the contract (and the employer honors the contract).

A work-for-hire generally consists of steps in which the writer receives a payment for each portion of the script that is delivered on schedule. Steps might include the beat sheet, treatment, first draft, producer’s draft, polish draft, etc.

Unfortunately, it is becoming more commonplace for studios to use “one step deals” in which the writer gets only one payment for one pass then is often asked to do extra drafts for free (usually to incorporate notes from the studio, the producer or talent). (also see Packaging a script) The WGA is trying to crack down on these abuses.

Work-for-Hire is generally only for experienced writers. A newcomer must be known for at least one quality spec script before being considered for work-for-hire jobs (see Spec Script).

A Work-for-Hire is also known as a writing assignment. The screenwriter is writing “on assignment” (with employer) as opposed to “on spec” (on their own).

The plot of a screenplay written out in prose form, generally in one to two pages. The story, specifically the action of the story; beginning, middle, and end; very clearly written and meticulously proofread.

The treatment should be very spare and straightforward — it should not contain extraneous emotional or cerebral content nor long excerpts of dialogue. I feel that it is crucial for a screenwriter to write a treatment of their story before they begin writing the actual script to see how it works on the page and how it is balanced to the four act structure, and then also after they’re finished to help market it. Many companies will require a one page treatment sent ahead of time for review before they accept the screenplay.

Also called a synopsis or pitch; not to be confused with a long-form 25 page treatment, or even longer scriptment (a phrase popularized by James Cameron) which includes blocked excerpts of dialogue and can be written moreso in a hybrid screenplay format.

It should also be noted that it is extremely difficult for unestablished writers to sell just a treatment without the accompanying screenplay. Employers want to see your unique concept executed on the screenplay page in your voice before they’ll buy just the idea and general structure in treatment form.

A waiver provided by a production company and signed by an un-repped writer who is making an unsolicited submission (see Unsolicited Submission). Protects the production company in the event they produce a film featuring a similar story as the writer’s screenplay and it produces a paper trail for the writer as a record of the submission.

The Submission Release Form is the way around the “no unsolicited submissions” rule if a production company really wants to read your script.

A spec script is a screenplay written to be sold on the open market, as opposed to one commissioned by a studio or production company (see Work-for-Hire). No guarantee of payment. The greater risk of a spec script can pay off in a bigger sale.

The only way for a new screenwriter to break in is to have a strong spec screenplay that will establish them by being an impressive writing sample or their first sale.

All screenplays and written material should be registered with the Writer’s Guild of America West or East before submitting to anyone or any professional entity. Your work (anything written may be registered) will be sealed in an envelope (or digitally archived) and date stamped. For non-members, this service currently costs $20 in L.A. (five years registration) and $22 in NY (10 years registration). It may be done online, via mail or in person at the offices in New York or Los Angeles. You should also copyright your work (see Copyright). Titles cannot be protected.

Attaching talent to your screenplay. I.e., getting an actor and/or a director to officially declare interest in the script to raise the chances of a sale and production. This is very difficult to do without representation (see Unsolicited Submission), and even more so to attach a “star” as their agents will refuse to look at a script not already funded for production. This is also referred to as attaching “elements.”

A major agency (like CAA or William Morris-Endeavor) can put together a package that includes their clients in the key roles (director, writers, leading actors) with partial financing and approach a studio for finishing funds and/or a distribution commitment.

A new writer wants to generate “buzz” on their script in some way that might get name talent to consider it. A contest/festival win, a referral from a friend or existing client or even a well-known true-life inspiration can help to build buzz on a script and get it read.