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Editorial Reviews
Amazon.com
You've got to love a lawyer who advises, "Don't make your lawyers rich." Entertainment lawyer Brooke A. Wharton provides an authoritative and, yes, entertaining primer for the beginning entertainment writer not just on the legal and business issues of writing for the industry, but also on how to get a career jump-started. The first section covers copyright, libel, and contracts, so that if you can't "control the exploitation of your scripts and written work ... at least [you'll] know when you're being screwed." The following section delineates the murky differences between the roles of agent, lawyer, and manager. The gist of it is that you don't need all three, but which ones you need depends on the type of person you are and the type of agents/lawyers/managers they are (industry insiders are not prone to job-title limitations). The next section has a series of interviews with writers, agents, and a producer, all of whom help to enlighten us about the various writing jobs the industry offers, from film to television to cyberspace. (If you're surprised to learn that "most writers working in the film industry do not make their living from the sale of a spec screenplay," I've got a good deal for you on some land in Florida.) Finally, there are lists of competitions, fellowships, internships, and agencies. And what about jump-starting that glamorous career? Contacts, baby. Contacts. And wouldn't you know, if you ain't got 'em, Wharton's got great advice on how to make 'em. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
If Wharton's book were a major motion picture, it would be destined to gross $300 million. Not only does Wharton, a Hollywood entertainment and copyright lawyer, demystify the legal mumbo jumbo of the entertainment industry, but she also answers questions like, "Do I have a contract if the agreement is written on a cocktail napkin?" and "Do all contracts have to be in writing?" An outstanding section called "Agents, Lawyers, and Managers" and sample forms and agreements are included as well. Whether you are writing for film, television, feature animation, or interactive gaming, the topics that concern you are covered here. As an added bonus, the author includes interviews with professionals in the field. A brilliantly researched section called "Resources and Tools" concludes the book. Every serious collection on motion-picture screenwriting should have this one on their shelves.?Marty Dean Evensvold, Magnolia P.L., Tex
Copyright 1996 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
You've got to love a lawyer who advises, "Don't make your lawyers rich." Entertainment lawyer Brooke A. Wharton provides an authoritative and, yes, entertaining primer for the beginning entertainment writer not just on the legal and business issues of writing for the industry, but also on how to get a career jump-started. The first section covers copyright, libel, and contracts, so that if you can't "control the exploitation of your scripts and written work ... at least [you'll] know when you're being screwed." The following section delineates the murky differences between the roles of agent, lawyer, and manager. The gist of it is that you don't need all three, but which ones you need depends on the type of person you are and the type of agents/lawyers/managers they are (industry insiders are not prone to job-title limitations). The next section has a series of interviews with writers, agents, and a producer, all of whom help to enlighten us about the various writing jobs the industry offers, from film to television to cyberspace. (If you're surprised to learn that "most writers working in the film industry do not make their living from the sale of a spec screenplay," I've got a good deal for you on some land in Florida.) Finally, there are lists of competitions, fellowships, internships, and agencies. And what about jump-starting that glamorous career? Contacts, baby. Contacts. And wouldn't you know, if you ain't got 'em, Wharton's got great advice on how to make 'em. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
If Wharton's book were a major motion picture, it would be destined to gross $300 million. Not only does Wharton, a Hollywood entertainment and copyright lawyer, demystify the legal mumbo jumbo of the entertainment industry, but she also answers questions like, "Do I have a contract if the agreement is written on a cocktail napkin?" and "Do all contracts have to be in writing?" An outstanding section called "Agents, Lawyers, and Managers" and sample forms and agreements are included as well. Whether you are writing for film, television, feature animation, or interactive gaming, the topics that concern you are covered here. As an added bonus, the author includes interviews with professionals in the field. A brilliantly researched section called "Resources and Tools" concludes the book. Every serious collection on motion-picture screenwriting should have this one on their shelves.?Marty Dean Evensvold, Magnolia P.L., Tex
Copyright 1996 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Product Details
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