Demand for TV Screen Writers Increasing

Manila Bulletin, March 5, 2012 | Go to article overview

Demand for TV Screen Writers Increasing


JUST A THOUGHT: Yesterday is but today's memory, and tomorrow is today's dream. - Khalil Gibran

* * *

MANILA, Philippines - WRITER AS SUPERSTAR: Filipino screenwriters have never had it so good since the rise, popularity and eventual takeover of teleseryes on primetime TV.

These days, one hears of TV scriptwriters landing hefty contracts, or being signed to exclusive contracts by any of three competing networks 2, 5 and 7. Exclusivity clauses used to be dangled by networks to tie down prized actors only.

For more than 10 years now, teleseryes have dominated primetime TV, starting at 6 p.m. week nights, all the way to 11 p.m. That means roughly five hours nightly of unending tales of woes, joys, and sorrows as soap operas in this country and also abroad are known for.

First to be signed up by a network is veteran screenwriter Ricky Lee, who has been with ABS-CBN for at least two decades. The multi-awarded Lee, who has published books on scriptwriting and a couple of novels as well, serves as creative manager for some of the network's drama serials.

His counterpart at GMA is Jun Lana, who wrote the film, "Jose Rizal," and who has also ventured in movie directing.

* * *

WRITERS' RATES: Like most creative workers in the movie and television industries, screenwriters used to work on a freelance basis.

At best, they work on a per project contract.

At the peak of the movie industry in the 1970s and '80s, a screenwriter would be happy with a contract pegged at 50,000 pesos per script. The pay would be handed out in installments, following a 50 percent down payment, according to veteran screenwriter Iskho Lopez.

With the movies out of frame and television taking over, writers shifted to the boob tube where the on-going rates, according to teleserye writer Dinno Erece vary depending on the airing time of programs. Soap operas aired in the evening, the so-called primetime, enjoy higher budgets compared to those aired in the daytime. The rates run across the board.

Erece, who also dabbles in entertainment writing in tabloids, says today's scriptwriters are paid around the vicinity of 40 thousand pesos per week if his program airs in the afternoon, and 52 thousand pesos or more if the program beams on primetime.

Note that teleseryes normally air five days a week.

Edlyn Abuel, a production manager at TV5, says networks are currently devising a plan to employ screenwriters on a monthly basis just like ordinary employees. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Demand for TV Screen Writers Increasing
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.