Spartan26
24 Dec 2004, 08:21 AM
OK, it’s still not for certain but the process is moving up to the point where we're starting price negotiations. I figured I’d ask you gamers for some help, as I have no idea what I’m doing. (Even though I’ve yet to sign an NDA, I’m going to write in somewhat general terms and hope I provide enough information.)
A video game company, which you may've heard of, which is a subsidiary of large corp that you definitely know, would like me to write a pilot for a new game based on characters from an existing series. I guess there’s been 3-4 incarnations of the game already and a feature film based on the license is in production for a 2005 release. I know next to nothing about the video game development process, which, obviously, is a bad position to be in at the start of contract negotiations. Could anyone fill me in with how the process works, what to expect, pitfalls to avoid, and of course, how not to get fired?
The producer and the company are in Europe. It wasn’t exactly clear but I believe at some point I’d be brought over to work with the “game/level design team” on story and character development to make sure scenarios and gameplay mesh. They didn’t give an exact start date but indicated early ’05 with a June of 05 completion. I think they said there’d be three drafts of the script before completion. They said around 20,000 words for the dialog – which, they might as well have listed it in metrics for me. Everything in Hollywood is based on page count or run time. How long is 20K words of dialog? I think they want more action description anyway.
How long do they normally give writers to work on a game script? I haven’t even had a chance to check if there are guild guidelines, but what’s the minimum coinage one would make? Also, what’s kinda the low average for people to make on these? What’s the non-union rate or going rate by some producer or company that doesn’t have an established track record?
What are some things I should try to include that'll save me stress and strain later on? Things that wouldn’t necessarily be listed in some book. For example, I never heard anyone bring it up in college nor ever saw a screenwriting book mention limiting the number of phone calls or meetings you have to take with the producers/director/development execs, but experience has taught me no more than two meetings a week and three phone calls constitutes a meeting.
Are there any type of “points” or residuals a writer can make off of unit sales? I’m fairly certain first right of refusal to write the first draft of a film or TV show will not be available to me but are there some other aspects I can leverage?
How all-consuming would this be? Would I be able to work on other projects while writing this, aside from the time I’m in their offices or is this going to be a mad sprint from beginning to end?
OK, does that give you any idea of what I’m looking for and enough info for you to give ball park figures and scenarios? Thanks. I can answer more questions should you need them. Any and all comments helpful.
(Sorry for the bulky an somewhat innocuous post)
A video game company, which you may've heard of, which is a subsidiary of large corp that you definitely know, would like me to write a pilot for a new game based on characters from an existing series. I guess there’s been 3-4 incarnations of the game already and a feature film based on the license is in production for a 2005 release. I know next to nothing about the video game development process, which, obviously, is a bad position to be in at the start of contract negotiations. Could anyone fill me in with how the process works, what to expect, pitfalls to avoid, and of course, how not to get fired?
The producer and the company are in Europe. It wasn’t exactly clear but I believe at some point I’d be brought over to work with the “game/level design team” on story and character development to make sure scenarios and gameplay mesh. They didn’t give an exact start date but indicated early ’05 with a June of 05 completion. I think they said there’d be three drafts of the script before completion. They said around 20,000 words for the dialog – which, they might as well have listed it in metrics for me. Everything in Hollywood is based on page count or run time. How long is 20K words of dialog? I think they want more action description anyway.
How long do they normally give writers to work on a game script? I haven’t even had a chance to check if there are guild guidelines, but what’s the minimum coinage one would make? Also, what’s kinda the low average for people to make on these? What’s the non-union rate or going rate by some producer or company that doesn’t have an established track record?
What are some things I should try to include that'll save me stress and strain later on? Things that wouldn’t necessarily be listed in some book. For example, I never heard anyone bring it up in college nor ever saw a screenwriting book mention limiting the number of phone calls or meetings you have to take with the producers/director/development execs, but experience has taught me no more than two meetings a week and three phone calls constitutes a meeting.
Are there any type of “points” or residuals a writer can make off of unit sales? I’m fairly certain first right of refusal to write the first draft of a film or TV show will not be available to me but are there some other aspects I can leverage?
How all-consuming would this be? Would I be able to work on other projects while writing this, aside from the time I’m in their offices or is this going to be a mad sprint from beginning to end?
OK, does that give you any idea of what I’m looking for and enough info for you to give ball park figures and scenarios? Thanks. I can answer more questions should you need them. Any and all comments helpful.
(Sorry for the bulky an somewhat innocuous post)