Writers who enter a traditional blind deal enter it with pay, and are commissioned to develop a particular pilot for the studio. Whether the pilot is sold or the material is put on the shelf, the studio will hold all rights to the material moving forward.
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However, there are two major differences: Here the project usually originates with the writer, and the studio comes on board to provide support as the material is developed and prepared to take out to buyers. As long as the material originates with the writer, the rights to the material will likely remain with him should the studio decide to pull its support or cease the selling effort, unless otherwise contracted.
However, if the concept originates with the studio or production company, then the rights to the material remain with the entity even after all buyer options have been exhausted. This is similar to an on-spec writing assignment, or a situation in which a writer develops an original screenplay or pilot from an idea given to him by representation, a producer, or a production entity. Even if writer and the producing entity part ways, the producing entity will likely seek to remain attached to the material as producer, if not hold the rights to the material altogether.
8 Sweet TV Deals For TV Writers
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Twitter Facebook LinkedIn. About the Author Lee Jessup is a career coach for professional and emerging screenwriters, a twice-published, best-selling author, and consultant whose expertise have been utilized by major studios and networks. She has appeared in countless screenwriting conferences and panels domestically, abroad, and online, is a contributor to Script Magazine, and has been the interview subject of countless podcasts.
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Never too far from the industry, Lee resides in Los Angeles with her family. September 18, Size Matters! Leave a reply Cancel reply Your email address will not be published. Prev Post.
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