Frequently Asked Questions

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Here are some of the questions most frequently asked of the Guild. 

We’re always trying to improve the information we give out.  If you have other questions you’d like to see answered in this section or if you have feedback about our answers then please let us know!

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GENERAL INFORMATION ABOUT THE NZWG

What is the NZWG?
NZWG - The New Zealand Writers Guild/Puni Taatuhi o Aotearoa is a professional non profit association for script writers in the fields of film, television, theatre, radio, comics and multi-media. The national office is located in Auckland. It is a member of the powerful International Affiliation of Writers Guilds (IAWG).  More detailed information about the NZWG can be found here.

GENERAL INFORMATION FOR NEW WRITERS

I want to get into writing for film/television/theatre/radio/new media: where do I start?
Initially a newcomer needs to do two things; to write and to get to know the industry.  

Write!
No matter what you want to write for, when starting out you will need to have some work to show to a producer.  That means writing.  If someone is interested in your script they will likely want to see other things you have done, or perhaps they like your style but aren’t interested in that specific work so it helps if you have other projects you can show them. 

Get to know the industry!
Learn about the industry you want to write for.  Each media requires different kinds of work and each subset of the industry has its own personality.  If you want to write for film, go see films.  Watch television to get a feel for that medium.  Go to theatre.  Listen to radio drama.  View websites, mobisodes and play games to get to grips with writing for writing new media.  Read writing books if you need some extra help.  Read scripts to learn the rhythm of the genre you’re writing for.  To learn more about the industry itself read the trade publications.  Sign up for emailed bulletins in your areas of interest. 

The easiest way to stay up to date with a wide range of news is to join the Guild and receive the Guild’s bi-weekly electronic newsletter The WriteStuff.

The Guild has also prepared more detailed information on getting started.

I’ve finished my script, what do I do now?
It helps if others have read your work – if you have friends or family whose opinion you respect why not let them read it and give you notes.  For an independent, expert assessment you may want to have a script assessor look at it. 

You will then need to get a producer interested in your work.  Until you are more experienced only a producer will be able to get funding to get the project made.  The Guild has a list of producers for film and television in New Zealand.  For television you may also send your work directly to one of the networks (in the case of TVNZ and TV3).  If you want to send your work overseas you will have to get an agent.  Also attending industry events is a good way to make yourself known to other industry creatives and forge relationships which may assist you in getting your work to the right people.

Can you recommend publishers?  Prose writing groups?
The Guild doesn't recommend publishers or carry information about prose writing.  You should contact the NZ Society of Authors.

Does the Guild help members to get their work made?
No.  The Guild is not an agency.  We are here to represent all our members equally.  There are writers agents for various media.

Do you know the rates for magazine articles/newspaper stories?
The Guild doesn’t carry rates for journalistic writing.  You should contact the Journalists Union.

I want to write for Hollywood – how do I break in
There is an entire industry devoted to telling writers how they can break into Hollywood.  For television it is unlikely overseas writers would be hired for a show unless they already have writing credits and are living in Los Angeles.  For film, you will likely need an agent or use an online script submission website to get your work to US producers.  Check out our getting started guides for more detailed information on breaking into Hollywood.

I have a lot of other questions…
Check the other FAQs in this section or the getting started guides , these should answer many if not all of them.

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WRITING TERMS EXPLAINED

What is an adaptation?
Adapting involves converting an already existing work, like a novel, short story, play etc, into a script.  The script that results from this is known as an adaptation.

What is a format?
A document outlining an idea, usually for television.

What is a scene breakdown?
A scene breakdown means the entire story is broken out into scenes, indicating the structure, characterisation and plot of the story and describing the time, location and cast of each scene.

What is a screenplay?
A screenplay is simply a fancy word for a script.

What is a ‘spec’ script?
Spec stands for 'speculative'.  A writer may write an unsolicited 'spec' script and send it to a producer in an attempt to attract their interest or get work.  However this should not be confused with a producer asking a writer to do work ‘on spec' which essentially means without pay.

What is a synopsis?
A very brief telling of the story in prose form, usually running only a paragraph or two to a page at most.  See also What is story outline?

What is a story outline?
A story outline is a brief telling of the story in prose form. 

Some people use this term interchangeably with synopsis and treatment although it is generally understood that:



What is a treatment?
A treatment is a detailed telling of the story in prose form.  It is written in a straightforward prose with no dialogue. A treatment may be from 5-25 pages in length.  See also What is story outline?

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FINDING A WRITER, ASSESSOR, EDITOR

I’ve got a great idea - how do I find a writer to turn it into a script?
If you are hiring a writer to produce a script for you they can justifiably expect to be paid for that work.  The Find a Writer section on this website lists writers available to do work.  However, often the best thing you can do is simply write the script yourself, it is often the case that no one can give vision to your idea better than you.

How do I find someone to collaborate on a script with?
Are you looking for a collaborator (a writing partner) or for someone to write the script for you?  Collaborations most typically arise out of people meeting and striking up some connection.  They will then work co-operatively.  You could contact writers to see if they are interested in collaboration but the best way to find a collaborator is to meet other writers and the best way to do that is to take part in industry groups, events and functions.  The Guild has a Collaboration Agreement which covers writers working together in this way.

I need someone professional to give me general feedback on my script.
Check out the Find a Writer section on this website – Script Assessors.  It lists script assessors who will be able to provide feedback for a fee.  It’s a good idea to ask assessors for references from other writers so you can judge whether their feedback has been professional and useful.

I need to find a script editor.
Do you want a script editor or are you looking for an assessment of your script?  A script editor is more typically heavily involved with the script and tends to be hired by a producer while an assessor will give you one-off coverage of your work and would be typically hired by a producer seeking a second opinion or a writer wanting an independent check of their script. 

If you are looking for an editor check out the Find a Writer section - Script Editors. 

What is the difference between a script editor, script consultant and script assessor?
Not everyone agrees on these various definitions and there are some differences between television and film, but generally speaking these are what the various roles encompass. 

Script Editor
In film – works in tandem with the writer in a broad sense – advising, analysing, discussing. 
In television – ensures consistency of style/story etc over a series, may take an active role in rewriting scripts where necessary.

Script Consultant
Literally ‘consults’ on the script – may be a specialist in the genre or subject matter of the work, provides more overarching advice on the style, tone rather than specific rewrites.  May work on an ongoing basis with the producer/writer.

Script Assessor
Reads the script and provides an ‘assessment’ – makes observations about what is working and what is not, may give notes towards improvements, may provide a one-on-one meeting to discuss the script.

How can I tell if a script expert is good?
First you need to ensure what type of ‘expert’ you require.  Is it a script editor, consultant or assessor?  Often the best way to find the right person for you is word of mouth – talk to other writers and see if they can recommend anyone.

All script experts have different skills.  Beginner writers will also have different needs from more experienced writers.

Some helpful questions to ask of them might be:

You might also consider

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FINDING A PRODUCER (FILM AND TELEVISION)

What is a producer?
A producer is a company or individual that stewards a script into production.  The producer has overall accountability for the project, including creative control and financial responsibility. 

Why do I need a producer?
The producer is ultimately responsible for bringing a project to fruition, including how money is spent.  No funding body or financier will provide finance for a production unless they know there is someone there who will be accountable for the appropriate use of that finance.

What will a producer want to see from me?
Different producers will want different things – but most prefer to see some tangible work (rather than just be pitched ideas) such as a treatment or script.  Before you send any work to a producer it is good to register it to ensure your authorship can be proven.

Is there a list of producers in New Zealand?
Yes, the Guild has a list of New Zealand producers who are willing to accept unsolicited submissions direct from writers.  This list available free of charge to all Guild members but is not available to non-members.  This lists various producers, their credits and contact details.  Any producer wanting to be listed in the directory should contact the Guild.

How do I find overseas producers?
In order to send your work overseas you will need to have an agent or put the work on a legitimate script search site.

What should I look for in a producer?
Different writers will want different things in a producer but ultimately you want someone who will respect you and the writing and who will do their best to get the work produced.  The best producers have administrative, financial, creative and negotiation skills.  Consider the following:



Can I send my work to more than one producer at a time?
 You're entitled to do so, but some producers don't like to feel they're just one of a very long list of people who have been sent your work.  On the other hand, some producers understand that you want to sell your work as quickly as possible.  It is a good idea to first target those producers who produce the type/genre of work you are submitting – if in doubt make a list of your desired producers in order of preference then send it to them one at a time, allowing each to reject the work before sending to the next producer.

If I send my work to a production company can they do what they want with it?
 No. You own all rights to your work until a producer or a company buys it.  They may ask you to make minor changes to the project before they option it and these may be paid or unpaid.  If it is unpaid it is, of course, completely your choice as to whether you make the changes suggested. 

What should I expect a producer to do with the work?
A producer or production company should also treat your submission confidentially and only send it to their official advisors (like their staff or a script assessor they regularly use).  If they want to send it to a funder or network they should option the work.

I sent a script to a producer months ago but haven’t heard from them.  What should I do?
It is a balancing act between being patient and allowing your work to remain off the market.  Most professional producers will endeavour to get back to you within a few weeks to a few months.  If you think you should have heard something you should contact them and ask when you might expect a response.  If you’re not comfortable with the reply or if you feel they are being evasive simply ask for the work to be returned (saying that another producer is interested in optioning the work will often force a decision). 

Producers, co-producers, executive producers, line producers?  What do they all do?
The various ‘producer’ titles can be confusing and some may actually be given in an honorary capacity.  In television some writers and stars may also receive producer credits.  But it is generally understood that:

Producer – overall responsibility for getting the film made and is responsible for both business (financial and legal) and creative decisions.
Co-producer – defers to the producer, responsible for some overall management tasks.
Executive Producer – responsible for some business tasks.
Associate Producer – deals with tasks delegated by the producer.
Line Producer – supervises the day to day running of the production.

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FINDING AN AGENT

How can I get an agent in New Zealand?
 The New Zealand industry has very few literary agents and agents who work in the audio-visual area are even scarcer. However, the Guild has names of agents – see the Find a Writer section of this website - Agents.  Some may require you to have credits before they take you on as a client.

How can I get an agent for overseas?
Most overseas agents will require you to have credits or to be introduced by one of their existing clients.  See the websites of affiliated Guilds for local information on agents. 

FINDING A SCRIPT

How do I find copies of film scripts?
The NZWG has a library where members can borrow scripts.  You can buy them from various sites on the internet.  Also, larger bookshops carry scripts in book form. 

How do I find copies of play scripts?
Contact Playmarket.  You can also hire them from the New Zealand Theatre Federation.

COPYRIGHT AND PROTECTING COPYRIGHT

What is copyright?
‘Copyright’ refers to a group of exclusive rights granted by law (in New Zealand it is The Copyright Act 1994) to original works.  These rights allow copyright owners to control certain activities relating to the use of their work.  A more detailed discussion of copyright can be found here.

How long does copyright last?
In New Zealand it is generally 50 years after the death of the author, although sometimes copyright can held by the author’s estate and may be extended.  The duration of copyright overseas will vary from country to country.

Is my copyright recognised overseas?
In most countries, yes. New Zealand is a signatory to various international treaties on copyright and your work receives protection in those countries that are signatories to the treaties. &

I’ve got a great idea for a script.  My idea is protected by copyright, isn’t it?
There is no copyright in an idea, only the expression of an idea.  In order for your idea to receive the protection of copyright you will need to develop it into something tangible like a story, treatment, script, article, play etc.

So if I tell someone my idea and they write a script from that I can’t do anything?
Effectively, no you can’t.  The best way to stop this happening is to not discuss your ideas with anyone unless you trust them.

Can I copyright a title?
No, there is no copyright in a title and while titles can be registered, this doesn’t confer copyright over them. 

However you should be aware that using a title very similar to that of an already existing work could confer passing off (passing off is where you are attempting to pass your work off as someone else’s, for example writing a movie about a giant ape and calling it King Kang would be passing off).

I’ve just finished my script.  How do I protect my work when I send it out into the world?
It is first important to ensure you identify yourself as the author of the work.  The most common way of doing this is to put the copyright symbol (©), your name and the year of completion on the bottom of the page (eg. © Jill Smith 2006).  Secondly, register it with the NZWG. Registration will help you prove your claim to authorship.

What is the NZWG Registration Service?
Registration provides a record of a writer's claim to authorship.  It is not the same as copyright: all registration does is objectively establish your claim to ownership at a certain point in time.  However, establishing such ownership can be critical if you ever have to go to court or assert your copyright in the case of plagiarism or breach of confidence. 

To register your work with the Guild, post or deliver a hard copy of the document to the office with a completed registration form. This service costs $35.00 for members and $70.00 for non-members.  Registration lasts for ten years (at which time the work can be re-registered for a further period).  Registration will not stop someone stealing your work but it will make it easier for you to prove your authorship if someone does so.  More details about the service and the registration form can be found here.

I’m sending a script to a country overseas, do I need to register it there as well as in New Zealand?
No, the NZWG Registration Service is similar to other services used throughout the world and is effective internationally. 

Is posting work on the internet safe?
Copyright applies to work published on the internet but there is no way to realistically enforce this copyright.  There are sites that enable you to post treatments and scripts which will be viewed by producers.  This is a good way to get your work to overseas producers.  You must ensure such sites are legitimate, some are and some aren’t.  www.inktip.com is an example of a legitimate site and is a good template for what such a site should offer.  If in doubt about a specific site, contact the Guild.

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FORMATTING

How should I format my script?
There are different script formats for film, television and stage plays, and these standards in turn vary between different productions and countries.  The Guild sells Final Draft scriptwriting software which puts the work into script format as you write it.  Most companies in New Zealand will now expect a script to be delivered in Final Draft or similar programme.


Should I be using a particular font when I write screenplays?
Courier is the accepted font for US scripts but the New Zealand industry doesn't have a specific font requirement.  If working for a specific company, especially for television where the formats can vary, you should check whether they have a particular style they expect the work to be delivered in.


Can you provide a checklist for how to format New Zealand film scripts?



Can you provide a checklist for how to format Hollywood film scripts?



Can you provide a checklist for how to format New Zealand television scripts?
Many production companies will have their own preferred format but if in doubt simply use the same format for New Zealand film scripts:



Where can I buy 8.5 x 11 inch paper?
It is probably easiest to buy it directly from the US (websites like www.amazon.com carry copier/printer paper) or ask a copy centre to cut down a larger paper size to 8.5 x 11 inch.



Brass brads?  I have no idea what they are!
The standard brads are a simple brass fastener with a head and two ‘prongs’.  The brads have sharp ends and the prongs are flexible.  You thread the brad through the holes and fold back the prongs over the back of the script.  More modern brads are bullet shaped with two pieces that screw together. 



Where can I buy brass brads?
Screw brads are not necessarily officially accepted in the US but are far easier to use than the ordinary brads and will suffice for the New Zealand industry.   Ordinary brads can be found at some stationery stores. Brass brads for American scripts may be purchased online from www.writersstore.com. 

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CONTRACTS

I’ve been sent a contract and don’t understand it.  Where can I get some advice?
The Guild offers a free contract advice service to members (this service is unavailable to non-members).  Most lawyers will be able to give you some guidance here but the Guild specialise in providing this type of advice.  Where the Guild can’t answer questions on copyright and contractual issues they will refer the matter to Lowndes Jordan, Barristers and Solicitors who will provide free advice and provide discounted rates if ongoing advice is required.  This free referral service is also only available to Guild members.

What's an option?
Commonly, a film option allows a producer (or other party) the exclusive right to represent a work and secure finance for it before having to pay the work's owner the full purchase price for the rights. Option agreements allow this right for a limited time. When the option is exercised the work is purchased (by way of a purchase agreement).


Does the Guild have any other general information on contracts?
You should check out the Contracts section of this website.  All Guild members should direct any questions on specific contracts to the Guild itself.

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RATES AND FUNDING

How much should I get paid?
Payment to screenwriters varies enormously from project to project and writer to writer but knowing the standard rates in New Zealand is a start.  The Guild has a Recommended Rates Guide available to members which outlines typical minimum rates of pay for a variety of script work.
 

How can I get funding in New Zealand?
Development funding, receiving funds to prepare a script for production, is what most writers mean when they talk about ‘funding’.  This comes from either a production company, network, theatre or a funding body such as New Zealand On Air, Creative NZ or the New Zealand Film Commission.  As a rule, most funding bodies require a producer to be attached to the project before it will receive development finance.  

Production funding, receiving funding to actually make a work, comes from New Zealand On Air, Creative NZ, the New Zealand Film Commission, Screen Innovation Fund and financiers, local and international.  You must have a producer attached before you can receive production funding and it is the producer’s job to secure production funding.

Is there a comprehensive list of all development funding available in New Zealand?
The following list is by no means exhaustive but gives a good idea about who may provide funding for development.  However, most funding bodies require a producer to be attached to a project.  There is currently little or no funding available for developing radio or new media.

Film
The New Zealand Film Commission
Creative NZ – Screen Innovation Production Fund – short film
Some producers will finance development

Television
New Zealand On Air (will only do so with network sign-on)
Te Mangai Paho
TVNZ
TV3
Maori Television Service
Some producers will finance development

Theatre
Creative NZ
Some theatre companies will finance development

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BUSINESS AND TAX ADVICE

What tax expenses can I claim as a writer?
Any legitimate expenses that have been accumulated during or contributing to your work.   Specific information on tax expenses can be found here. 

Do I need to register for GST?
You must register for GST if your ‘taxable activity’ (ie. income as a contractor) has or will exceed $40,000 over a twelve month period.  If you fall below this threshold you may still register for GST but you are not obliged to.  Being GST registered means you can claim back the GST on any business expenses so many writers register as a matter of course.

What are my obligations if I am GST registered?
The obligations include:

More detailed information on GST can be found on the IRD’s website. 

Do I need to set up a separate company?
No, you can run a business as a self-employed contractor and claim expenses through that.  However, if you are doing more than just working for yourself or if are engaging or employing others to do work you may want to talk through the advantages of setting up a separate company with a tax agent or accountant.

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WRITING COURSES

I want to do a full-time scriptwriting course – what sort of things should I expect to see in the course itself?
The following is by no means an exhaustive list, but should provide you with a good guideline of what any professional scriptwriting course should include.

Tuition that covers the elements of a script:

  • story
  • structure
  • character
  • themes
  • genre
  • dialogues
  • format

There should be creative writing exercises based on the course components and some project to develop a script idea to first draft stage.

Film/theatre critique:
There should be an element of critique, looking at contemporary and classic works.  Students should learn to professionally critique their own work and that of others on the course.  This element should not attempt to replicate the analytic approach of academic courses, but remain firmly focused on existing film-making and theatre techniques that could help the students with their own projects.

Professional development:

  • business of writing
  • taxes and legal issues
  • intellectual property
  • guilds and organizations
  • pitching and networking

Work experience is necessary, even if it is only hanging out on a film set for a day, or attending a workshop reading or rehearsal of a play.  There should be an effort made to get speakers from a wide variety of  positions within the industry to talk frankly to students about the industry.

Clear assessment and evaluation procedures.

Professional staff who:

In addition, a distinction might be drawn between courses that teach people first how to make plays or films which include a scriptwriting component and courses which are stand-alone scriptwriting courses.  Both have their place, but their foci and outcomes may be expected to differ substantially.

Finally, a good writing course will not be formulaic, but will strike a balance between stimulating and supporting students’ creativity, and communicating realistically the expectations and practices of the industry.