Tagged As: scripts

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Script Reader

In entertainment production, a script reader is the gatekeeper between the scriptwriter and the development executive with the power to greenlight scripts. This person keeps the crap off the boss’s desk and puts forward only the material with real promise.

Showrunner

Showrunner is more a title and a set of responsibilities given to one of the executive producers, less a completely different job. This person may be credited as the executive producer, creator, or writer-producer; in any case, his or her duty is to maintain the integrity of the overall canon of the series and keep the writing staff on task and on message.

Story Editor

If you’ve survived your tenure as a television staff writer with only minimal injuries to your ego and self-esteem, the next level is the honor and prestige of becoming a story editor. In actuality, it’s a minor step up, but does include a couple of notable perks.

Inside the Writers’ Room: Jane Espenson

Like most trades in Hollywood, writing for TV is a faceless craft. For the most part, the audience is blissfully unaware of the people behind the scenes conjuring magic from a blank page to entertain them. This is surprising, considering the television medium is uniquely writer-based; its scribes hold far more power than in the film business. Names like John Wells, Aaron Sorkin, J.J.

Staff Writer

For television writers, the first step is an entry-level gig as a staff writer. This is a less glorious title than it appears, and does not receive a credit, but it is the probationary proving ground that trains emerging storytellers in the art of creating episodic television. Under the Writers Guild of America minimum basic agreement, staff writers are paid a weekly salary and contracted for a designated period during the life of a series.