SCOTT, WHEN A WRITER GETS HIS/HER CHECK, do they then pay the agent and or manager OR is the agent/manager's cut taken out before the writer touches the check?

also can you give some advice on what a writer should do when he gets that first big check? i.e. get an accountant (if so why) etc

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Scott, what's the first piece of advice you would give someone when they get that first sale and how to handle the aftermath of all of that on an emotional level?

Scott, in some movies I see at the beginning 'script by' and 'story by'. What does that mean? Does it mean that a script was rewritten in such a way that its main plot points changed dramatically and only the idea of the story was left over; and, a new team of writers worked on a new draft staring with that idea? If so, what does it mean financially and legally for a writer if his script is bought and he's only credited as 'story by' ? When does a script change in 'story by'.

Scott, relating to Shari's question, say you sold a script - do studios always hire other writers to rewrite the script(hence the additional credits)? Is that a norm? Also once you sell that script, is the writer asked to do a rewrite on the script they just sold/does that depend on the kind of deal that is made? Or is their involvement kaput after that initial sale?

Usually you will sign a release allowing your agent/mgr/or lawyer to process your checks. Buyer sends check to agency. They pay themselves, lawyer, manager, then pay you the difference along with a statement and copy of the original check from the buyer/employer.

sock that money away. Build up two years of income before you give up your steady day job pay check. I didn't do this and wish I did.

You would be surprised how many agents and managers actually cannot answer this. I just went through arbitration so it's all fresh. "written by" is given when there is no source material and no other credited writers. "screenplay by" is given to the writer(s) receiving screenplay credit when there is either/or a "story by" or "based on" some source material. These are all credit determinations that are made once principal photography has completed. The studio or production company submits their credit determination (what they believe the credits should read), every single writer on the project gets a copy of this and has a couple weeks to protest if they believe they deserve a different credit. If no one protests then the credits stay the way the studio/production company submitted, but if a single writer protests it goes to arbitration and a committee of WGA writers read the protest, all materials associated with the project and make the final determination of credits. This is a big deal because 1) your contract will likely have a bonus connected to your final credit. Could be big or small but usually it's something decent and you may only get half if you receive partial screenplay credit. Or no bonus if you get no screenplay credit. Story by rarely ever gets any bonus. As for residuals, Story by receives 1/3 of the residual pie and screenplay by receives 2/3. Written by receives 100%. Very important when you are adapting something that you make sure you get the story by and screenplay by credit even if you are the only writer on the project, otherwise the studio can legally pay you only the 2/3 for screenplay credit. This is fairly inside baseball but there it is. Plus Scott has like 19 other things to post today. I'm convinced that Scott is actually a team of geniuses locked in a basement somewhere... how does he do it!?

another .02 -- this varies. If there is a lot of action on the spec and multiple parties interested your reps will leverage at least a 2 step deal. Step one is the purchase of the property. Step 2 is a guaranteed rewrite. Now it's on you to nail it or they will absolutely hire another writer. If there is not a lot of heat on it but some company loves the concept they might do one of several things. If they love the writing they will stick with you for any rewrites. If they love the concept and not the writing they will probably option the property from you (maybe buy it, but if it isn't a competitive situation why pay 90K+ when you can option for 10K). Once optioned they will then pay for a rewrite by a writer they like. If all goes well that version gets traction and financing and a greenlight. When principal photography starts you get paid the remainder of the pre-negotiated sales price.

Clarification: Theatrical feature residual structure is 25% story by and 75% screenplay by. TV is 1/3 story 2/3 teleplay/screenplay. Direct to video or direct to VOD is governed in the TV space so it's 1/3 - 2/3

HI, Scott. My question is related to feedback, not just studio notes but all kinds of feedback - from other writers, friends. How would you recommend handling feedback? I've seen cases where the script gets worse, not better - because they accept every comment. And the opposite - where the writer doesn't want to make a change that most of the others writers think would benefit the script. So, any tips for working with feedback you receive? How do you deal with it? Thanks.

Psycho: Hitchcock / Gus Van Sant. It's basically the same script filmed almost identically shot by shot. Why do you think one works so well and the other doesn't?