Unit 24: Writing for Television & Video - censorship and libel

Censorship can be a tricky opponent for a writer. Censorship largely is the restriction of ideas and opinions within media today. The level and sensitivity of censorship largely depends on the society in which the production is being broadcast. For example if you were say broadcasting in a highly sensitive society with wide spread religious beliefs, you would have to be a lot more careful about what you say, how you say it and when you say it. For example a highly Muslim country like Pakistan would, one would imagine, have a much higher thresh hold than say relatively laid back England.
Another thing that can effect censorship is the political climate of the time. You may not be able to say things against the regime in power at all. It literally would be forbidden from a power much higher than just the broadcasters guidelines. Examples include Communist China, only recently they forbade Google from they're country as it didnt tie in with what the government wanted to be. So for a creative writer to say what he wants to, get his point across in these climates would be extremely difficult and would often, if they were prepared to take the risk, be subtle hints at best.
As for England censorship, while definitely something to think about, is largely slack and forgiving. Mostly falling down to the time its aired and the watershed of the channel. As well as the projected audience. Rude Tube is hardly going to be broadcast and 3:30 PM on BBC 1.

Libel falls under the same umbrella of slander. Its the implication about a character in a negative manner without the use of words. Usually through print or pictures. Often its the implication of an opinion or stereotype or alleged claims with out voicing them literally at all.
While libel isnt a registered "crime" it is referred to a public court and will 9 times out of 10 end up in a monetary fine to compensate for damages to character or reputation.
While it isnt portrayed as such a terrible thing, alot of writers from every field be it tv, film or science journals, a lot of writers are afraid to publish they're full views and opinions through fear of a court case for libel claims.
Its definitely a area of law that writers in all veins of media need to consider. A successful libel claim surely cant look good on anyone.

Unit 24: Writing for Television & Video - Royalties

The way writers get paid is a tricky business. Depending on whether it is tv or film. Often tv writers will be paid a salary by the production company for writing or re-writing a show or an entire series. If the show gets continued or does well they well often get called back and put on a higher wage. They are almost never given royalties to the show and their salary will regularly last only the season. 
Working in film is a slightly different kettle of fish, to ask for royalties. While you might get more in the long run it largely depends on whether or not the film does well. Most royalties begin after the film has made a certain amount of money. So if the film flops and makes next to nothing the writer who signed the royalty agreement gets literally nothing. So as i said early while you may get more in the long run its is potentially risky business. 

Alot of writers opt for a one time fee from the production company and a title card on the screen (for example the writers name alone on the opening credits.) The reason they do this is most movies dont make enough money to cover production costs so the benefit is the writer will always get paid and not have any share in the losses. You can also agree a fee so you take a cut of the profit if the movie gets made or makes a certain amount of profit. This is where your agent comes in and works his or her's magic. 

Unit 24: Writing for Television & Video - Agent Representation

An agent works with the writer and assists in getting their work to the appropriate people. For instance in any vein of media, be it tv, film or radio, they are always on the hunt or perspective new talent that have written a complete and sellable script. They often hunt for a big idea or an interesting hook in order to get the script/writer onto prime time tv or cinema. In addition to the script being commercial, it really has to be sellable. This is one of the most important aspects of the process. This has to be done in the way the writing and storytelling - the way the story is told - are amazingly well executed, fresh and distinctive. Agents and managers are looking for clients who can deliver complete, commercial and sellable scripts. Once this has happened it can open a flurry of avenues for the previously unknown writer.
The reason this is beneficial for the writer in a positive manner is because they essentially do the leg work for him/her. They set up meetings and get the scripts under the noses of people that mater instead of just sitting in a mail box or worse the bin. They also predominantly have contacts in the specific genre of the script, thus this is useful at getting the work into the appropriate area or department.
The primary down side is an obvious one. They cost. Of course they wont be doing this for free. Agents and managers take a sizable percentage of anything you earn should your script get sold at all. This isnt a given, most agents will only take you on to their books if they are confident you have talent, at least the established ones. They wont just put the time and effort for all the things listen above if they dont think they can make any money out of it.

Neils Script Annotation

	[South Park, day. Now showing at the South Park Community Theatre] [Fanfare begins with a drumroll, a spotlight hits its mark on stage and an announcer speaks]
Announcer:	Ladies and Gentlemen, give it up for JIMMY! [the curtains part and Jimmy walks forward wearing a tuxedo] Thank you! Wow. What a terrific audience.[the curtains close behind him] I know what most of you are thinking. "Hey, uh-that guy stole my show..." [long pause] Wow, what a great audience. And how about this Michael Jackson guy, huh? I mean, come on... [long pause] Wow, what a great audience. [the soft sound of one person clapping is heard]Uh... l... lights, please? [the house lights click on and only one person is seen in the seats: Butters]
Butters:	Hey Jimmy.
Jimmy:	Butters, w-where is everybody?
Butters:	Oh yeah, well, about that... Christopher Reeve came to town to do some kind of show, and everyone went to see him.
Jimmy:	Christopher Reeve? Christopher Reeve?!
Butters:	You know, Christopher Reeve, the guy who played Superman.
Jimmy:	I know who he is! But why is everyone ditching my comedy show to see him?!
Butters:	Ww-well, because he got crippled, but now he can move his finger. He is an inspiration to us all. That's why everyone ditched on your show.
Jimmy:	So then, how come you came?
Butters:	Well, because I said I would. Oh, I'm a dork, huh? [Jimmy stews on stage]
	[South Park Town Sq... Kenny McCormick Memorial Town Square. Mayor McDaniels is on stage with her aides. Above them a banner reads "STEM CELL RESEARCH." A crowd of people has formed in front of the stage]
Mayor McDaniels:	And so without further ado, here's the most courageous, most amazing man on the planet, Christopher Reeve. [everyone claps and the curtains open. The mayor and her aides step aside. Christopher Reeve rolls out towards the mic. Jimmy shows up to watch.]
Reeve:	Thank you, thank you, wow, what a great audience. [stops to catch his breath with a fixed smile in place] I just flew into South Park. [catches his breath]Used to be I didn't need an airplane.
Townspeople:	Awwwww. [a smattering of applause]
Reeve:	As most of you know, [catches his breath] I am a strong supporter of stem-cell research.
Jimmy:	Say, fellas! Thanks a lot for goin' to my ...c-comedy show! ["It is a proven fact that stem-cell research"]
Cartman:	We didn't go to your comedy show.
Jimmy:	I know that, I was being f-f-f-fa...cetious! can add many years to the lives of people who have been disabled by accidents
Stan:	Look, dude. Christopher Reeve, dude. ["or other ways."]
Jimmy:	Ooh, Christopher Reeve! Whoop-de-freakin-do!
Kyle:	Dude, that's not cool. You shouldn't make fun of Christopher Reeve.
Stan:	Yeah dude, not cool.
Reeve:	Though it is controversial, [catches his breath] stem cell research is critical [catches his breath] in the quest for helping [catches his breath] the disabled.
Jimmy:	I put together a comedy show and I was crippled from BIRTH! [waddles off in a huff]
Stan:	Uh, hoo. Guys, I think we'd better stay out of this one.
Kyle:	Yeah, this is starting to look like something we shouldn't be any part of. Let's go play with trucks or something. [they turn right and trot off]
Timmy:	Ha-a-aaa-haaa-a.

Red Highlight – Stage Directions and story building

Green Highlight – Background dialogue

Yellow Highlight   Explaining plot 
Blue Highlight - Primary Dialogue

I don't know why, but for some reason, Disney is getting rid of their best shows and putting in new ones that are pointless to watch (ie: "Brandy and Mr. Whiskers"). But "Boy Meets World" is one of the good ones, unfortunately being pushed off to a later and later time.

This show is good for a number of reasons. The actors are hilarious, all portraying very different and very real characters. Cory's brother, Eric, is my favorite, because every show needs a little slapstick humor.

The story line is fabulous. Unlike other shows that portray sappy, stereotypical teenagers doing things no one in real life would ever do,(See "Lizzie McGuire") this show contains humor and drama held together with definite realism. The show deals with a lot of the things that teenagers go through, while making it still entertaining to watch.

I love this show, and personally don't tire of it. It is great for all ages. The younger shows have more humor and are better for younger children, while the older ones contain more drama and are great for teens to watch. I personally like both, and sometimes my dad watches with me.

Overall, this is a great show, and should not be kicked off the air.


This review is obviously written by a fan, it shows the programme in a positive light and very rarely, if at all, addresses it in a negative light.

Children Drama Synopsis

The story begins with Sam in Henry's house with Henry trying to persuade Sam to hit him with his power. Sam is reluctant as he understands how his power works at the current time. He knows how dangerous it could be with his power unleashed, let alone directed at someone. They begin to discuss what makes Sam and his power tick . Sam repeatedly tries to make his powers work but cant seem to tap in to the source. Slightly bemused by this Henry ponders the conundrum, he asks Sam what triggers his powers normally. Sam tells him that its usually when emotions run high, when hes angry or deeply upset (predominately negative emotions). Henry muses that perhaps he should tap into a positive feeling or memory in order to gain a stronger control of his power. Sam, lacking enthusiasm, tries one last time. It worked !
Meanwhile in a church not to far away, a man named Victor Talbott is waiting. His associate, Vanessa Stone, informs him of Sams and Henry's new found affiliation. Victor already knew. He finds himself unconcerned as everything is "falling right in to place"