Wikipedia:Reference desk/Archives/Entertainment/2017 July 22
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July 22[edit]
Targeting my screenplay about voluntary intoxication vs sexual consent[edit]
I'm thinking of writing a screenplay about a man (who'd probably be the protagonist) who has a fetish for women who are high. His ex-girlfriend presses rape charges, and his trial hinges on whether or not she could've validly consented to sex while (voluntarily) impaired by a drug. (Please don't try this at home, kids; try it in court instead.) Will writing this screenplay in the setting of an existing show (e.g. Law & Order: Special Victims Unit) improve my chances that LA buys my screenplay? If so, what show is the best choice? NeonMerlin 16:49, 22 July 2017 (UTC)
- The best person to answer that would be your Agent. From what I have read about the TV industry, the chances of any Producer taking a screenplay not submitted by an established agent are somewhere between zero and none. {The poster formerly known as 87.81.230.195} 94.9.11.138 (talk) —Preceding undated comment added 16:15, 23 July 2017 (UTC)
- NeonMerlin can only ask his agent if he already has an agent. You'll need a script to even get to that point. Finding an agent who's willing to represent you is your first step.
- Basically, this question is about writing a spec script.
- Your goal here is important. Are you trying to break into movies? Or Television?
- If you're trying to break into TV, it's pretty common to write a spec script for one or more popular TV shows with the hope of using them to hire an agent. Be aware that most agents will not be interested in a dabbler who's only interested in publishing a single script. They typically want clients who are trying to become full-time writers. To that end, most sources about "Getting an agent" recommend that would-be TV writers have more than one spec script ready, so when the agent likes your first script and says "what else you got?" you've got a second or third ready-to-sell script that you can hand over immediately.
- here is a fairly typical source on the subject, but entire books are written on the subject.
- ApLundell (talk) 22:17, 23 July 2017 (UTC)
- To get a good idea of what is necessary, look at the biography of as many professional writers as possible. What did they do? While there are exceptions, you will see an overwhelming trend: They start as assistants to writers, eventually getting a job as the low guy in a writing crew, then, eventually, getting permission to be lead on a script, and, if they are very lucky, becoming a full-time writer. In general, the entertainment industry is still a guild-based industry. You start out as a lowly trainee. You put in your hours and hope to advance. Trying to be the exception is more commonly a fast path to failure. 209.149.113.5 (talk) 13:34, 24 July 2017 (UTC)
- I have a friend from high school who works as a television producer now. He worked up in a similar manner; he got involved by starting out as a production assistant, which is basically a glorified gofer, and after many years, he worked through various positions, such as boom operator, camera operator, etc. until he worked up to the producer job. So the advice 209.149 gives seems sound. The amateur filmmaker who lucks into a job is rare, like any industry being a professional screenwriter takes years of work at the lower levels. --Jayron32 15:44, 24 July 2017 (UTC)
- A Screenwriters's track might not be the same as producers and other filmmakers. Screenwriters can operate freelance. This question seems to be more about the scenario of a freelancer selling a spec script than getting a job as a staff writer. ApLundell (talk) 18:20, 24 July 2017 (UTC)
- They may, but as freelance workers, the only currency they have is reputation; which requires experience, and the way to get that experience is to work as a staff writer somewhere. Unsolicited screenplays from unknown writers are summarily ignored. --Jayron32 13:25, 25 July 2017 (UTC)
- That's why an agent was recommended as the first step. Agents looking for new clients don't necessarily ignore unsolicited screenplays, and studios don't ignore scripts from agents with good reputations. That's the agents' job, to act as that filter.
- I'm not saying it would be easy. It would not, it would require both talent and luck. But it's not quite impossible, it does happen that people enter the industry by selling a Spec Script.
- ApLundell (talk) 14:15, 25 July 2017 (UTC)
- People do win lotteries. It's not a sound investment practice, however. --Jayron32 19:01, 25 July 2017 (UTC)
- Also, not mentioned, a reason most studios don't read unsolicited scripts is the fear of copyright trolls. If they tell you that they aren't going to use your script, and later produce a coincidentally similar show, they open themselves up to being sued. Refusing to even open your script is how they avoid that. --Jayron32 11:47, 26 July 2017 (UTC)
- Yeah, that's one of many reasons. They also just don't have people who's job it is to slog through all that. Unsolicited stuff goes to agents, and in the lucky case that they're interested, they'll know how to do the next step. You can't skip the agents and go right to the producer unless he's your uncle or something. ApLundell (talk) 21:20, 26 July 2017 (UTC)
- They may, but as freelance workers, the only currency they have is reputation; which requires experience, and the way to get that experience is to work as a staff writer somewhere. Unsolicited screenplays from unknown writers are summarily ignored. --Jayron32 13:25, 25 July 2017 (UTC)
- A Screenwriters's track might not be the same as producers and other filmmakers. Screenwriters can operate freelance. This question seems to be more about the scenario of a freelancer selling a spec script than getting a job as a staff writer. ApLundell (talk) 18:20, 24 July 2017 (UTC)
- I have a friend from high school who works as a television producer now. He worked up in a similar manner; he got involved by starting out as a production assistant, which is basically a glorified gofer, and after many years, he worked through various positions, such as boom operator, camera operator, etc. until he worked up to the producer job. So the advice 209.149 gives seems sound. The amateur filmmaker who lucks into a job is rare, like any industry being a professional screenwriter takes years of work at the lower levels. --Jayron32 15:44, 24 July 2017 (UTC)
- To get a good idea of what is necessary, look at the biography of as many professional writers as possible. What did they do? While there are exceptions, you will see an overwhelming trend: They start as assistants to writers, eventually getting a job as the low guy in a writing crew, then, eventually, getting permission to be lead on a script, and, if they are very lucky, becoming a full-time writer. In general, the entertainment industry is still a guild-based industry. You start out as a lowly trainee. You put in your hours and hope to advance. Trying to be the exception is more commonly a fast path to failure. 209.149.113.5 (talk) 13:34, 24 July 2017 (UTC)
Most Paralympics Summer games 100m gold medals[edit]
Who has won the most Paralympics Summer Games 100 metre wheelchair gold medals in the highest wheelchair class? (Mobile mundo (talk) 22:32, 22 July 2017 (UTC))
- The "highest" (I presume you mean least impaired) classification in wheelchair racing is T54. The current 100m record holders in this class are; men Leo-Pekka Tähti (Finland) at 13.63 seconds, and women Liu Wenjun (China) at 15.82 seconds. Leo-Pekka Tähti has four 100m Paralympic gold medals; 2004, 2008, 2012 and 2016. Roger (Dodger67) (talk) 18:21, 25 July 2017 (UTC)