Data Portal @ linkeddatafragments.org

Matches in Harvard for { <http://id.lib.harvard.edu/aleph/006302924/catalog> ?p ?o. }

• catalog abstract "The Writer Got Screwed is the first book to untangle the legal and business aspects of writing for the entertainment industry. For the young TV production assistant waiting for his big break, the executive with a treatment tucked away in a bottom drawer, the techie targeting the new field of cyberspace writing, or anyone who is inspired to write screenplays, this book is an indispensable road map to success. Savvy Hollywood entertainment attorney Brooke Wharton explains. The proper methods of protecting creative work, decodes the legal jargon the new writer is likely to encounter (and be unfamiliar with), gives practical advice on how to find representation, explains the pluses and minuses of obtaining an agent versus a lawyer or manager, shows how to read between the lines of a contract before signing, tells how to receive appropriate compensation for work, and advises how to avoid getting sued or screwed along the way. Top writers from. Film, television, and the emerging field of interactive entertainment candidly reflect on their careers, giving valuable advice on how to pitch ideas and offering alternative paths to success. For example, Jane Anderson, writer of How to Make an American Quilt, reveals how she made the move from television to big screen, and Philip Lazebnik, screenwriter for Pocahontas, recalls the collaborative excitement that lured him - despite myriad obstacles - to write for feature. Animation. Useful resources, including a glossary and lists of agencies, competitions, fellowships, internships, and legal organizations, make The Writer Got Screwed an essential addition to every writer's tool chest.".
• catalog contributor b8805007.
• catalog created "1996.".
• catalog date "1996".
• catalog date "1996.".
• catalog dateCopyrighted "1996.".
• catalog description "Animation. Useful resources, including a glossary and lists of agencies, competitions, fellowships, internships, and legal organizations, make The Writer Got Screwed an essential addition to every writer's tool chest.".
• catalog description "Film, television, and the emerging field of interactive entertainment candidly reflect on their careers, giving valuable advice on how to pitch ideas and offering alternative paths to success. For example, Jane Anderson, writer of How to Make an American Quilt, reveals how she made the move from television to big screen, and Philip Lazebnik, screenwriter for Pocahontas, recalls the collaborative excitement that lured him - despite myriad obstacles - to write for feature.".
• catalog description "Section 1. Protecting ideas, your written work, and yourself : 1. Why do my ideas always end up in someone else's script? -- 2. How can I write nasty things about people I know and not get sued? -- 3. If someone writes an agreement on a cocktail napkin, and I sign it, do we have a contract? -- 4. Congratulations, you're a member of the WGA. -- Section 2. Representation: Agents, lawyers, and managers: what do they mean when they say that they are looking for someone with passion? : 5. Agents: what do they mean when they say that they are looking for someone with passion? -- 6. Lawyers: what do they mean when they say that they are looking for someone with passion? -- 7. Managers: what do they mean when they say that they are looking for someone with passion? -- 8. What can I do if I don't have an agent, attorney or manager? -- Section 3: Writing for the entertainment industry: why should I write the next Pulp Fiction when I really want to write for "The Young and the Restless"? : 9. Writing for film -- 10. Writing for episodic television -- 11. Writing for the entertainment industry -- 12. Why write for television when you can write for cyberspace? -- Section 4. Resources and tools : Glossary of terms -- Competitions and fellowships -- Writers Guild list of agencies -- Legal organizations for writers -- Internships.".
• catalog description "The Writer Got Screwed is the first book to untangle the legal and business aspects of writing for the entertainment industry. For the young TV production assistant waiting for his big break, the executive with a treatment tucked away in a bottom drawer, the techie targeting the new field of cyberspace writing, or anyone who is inspired to write screenplays, this book is an indispensable road map to success. Savvy Hollywood entertainment attorney Brooke Wharton explains.".
• catalog description "The proper methods of protecting creative work, decodes the legal jargon the new writer is likely to encounter (and be unfamiliar with), gives practical advice on how to find representation, explains the pluses and minuses of obtaining an agent versus a lawyer or manager, shows how to read between the lines of a contract before signing, tells how to receive appropriate compensation for work, and advises how to avoid getting sued or screwed along the way. Top writers from.".
• catalog extent "xi, 276 p. ;".
• catalog hasFormat "Writer got screwed (but didn't have to).".
• catalog identifier "0062701304".
• catalog isFormatOf "Writer got screwed (but didn't have to).".
• catalog issued "1996".
• catalog issued "1996.".
• catalog language "eng".
• catalog publisher "New York, NY : HarperCollins Publishers,".
• catalog relation "Writer got screwed (but didn't have to).".
• catalog spatial "United States.".
• catalog subject "384/.83/0973 20".
• catalog subject "Authors and publishers United States.".
• catalog subject "KF4302 .W48 1996".
• catalog subject "Motion picture industry Law and legislation United States.".
• catalog subject "Screenwriters Legal status, laws, etc. United States.".
• catalog tableOfContents "Section 1. Protecting ideas, your written work, and yourself : 1. Why do my ideas always end up in someone else's script? -- 2. How can I write nasty things about people I know and not get sued? -- 3. If someone writes an agreement on a cocktail napkin, and I sign it, do we have a contract? -- 4. Congratulations, you're a member of the WGA. -- Section 2. Representation: Agents, lawyers, and managers: what do they mean when they say that they are looking for someone with passion? : 5. Agents: what do they mean when they say that they are looking for someone with passion? -- 6. Lawyers: what do they mean when they say that they are looking for someone with passion? -- 7. Managers: what do they mean when they say that they are looking for someone with passion? -- 8. What can I do if I don't have an agent, attorney or manager? -- Section 3: Writing for the entertainment industry: why should I write the next Pulp Fiction when I really want to write for "The Young and the Restless"? : 9. Writing for film -- 10. Writing for episodic television -- 11. Writing for the entertainment industry -- 12. Why write for television when you can write for cyberspace? -- Section 4. Resources and tools : Glossary of terms -- Competitions and fellowships -- Writers Guild list of agencies -- Legal organizations for writers -- Internships.".
• catalog title "The writer got screwed (but didn't have to) : a guide to the legal and business practices of the entertainment industry / Brooke Wharton.".
• catalog type "text".