Individual skill

sw-industry-business

The screenwriting business and career (编剧行业与生意经) — merged from Diamond & Weissman's Bulletproof (buyer's-eye workflow, three Cs, one-page nine-step, set pieces, submission, notes, resilience), Eric Bork's The Idea (PROBLEM seven-element idea test, 60/30/10, television differences), Neill Hicks (market four entities, six criteria, WGA, agents, option, credit arbitration, gross vs net, step deals), Richard Walter (query letter, agents, package, option, spec, release, copyright, guild, gatekeepers, professionalism, 66 principles), Wendy Henson (breaking in), Blake Snyder (logline pitch, genre, agents), Julian Hoxter (industry terms), Mei Feng's Oscar analyses, and the Hollywood masterclass (pitching, notes, credits, TV vs film). Use when evaluating whether an idea is sellable, writing a logline/query/pitch, preparing a submission, handling notes and rewrites, understanding options/credits/WGA/agents/net profit, choosing between film and TV, or building a career strategy.

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# 行业与生意经(Industry & Business)

> **输出语言=提问语言**;术语一律锚回原词,见 [sw-workflow/terms.md](../sw-workflow/terms.md),不自创译名。

美国编剧行业的运作逻辑与生存策略。核心共识:**"这是生意不是童话"**(戴蒙德&韦斯曼);"电影剧本的创作不是关于电影业,而电影业却和电影剧本的创作相关"(沃尔特原理 56);"最聪明的营销策略是拿出好剧本"(原理 62)。本 skill 覆盖:想法体检、一句话与推销、提交与经纪、合同与署名、审读意见与修改、电影 vs 电视、职业心态。写作流程与格式见 `sw-format-adaptation`。 完整自检清单、询问信样本与合同术语见 [reference.md](reference.md)。

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## 一、从买家角度看写作(戴蒙德&韦斯曼)

- 递交剧本对每个环节的人都要有好处——产业链每一环都说"这对我有好处"(代理→制片人→导演→高管);"是编剧承担起帮其他人实现梦想的重担"。
- **电影创意≠剧本创意**:真实发生的事本身不是电影创意。**三个 C**:角色、概念、背景("这个人、处在某个情境里、在一个特定环境中……直到他做了正确的事");《土拨鼠之日》概念可拍成科幻恐怖惊悚,加"满腹牢骚的天气预报员"→喜剧,加"土拨鼠之日"→基调。
- **检查创意**:不要先写梗概;用口语讲给信任的人听,看反应是"**这个我必须拿下**"(开启事业)、"好的我明白了"(有潜力但常见,不能付账单)还是"我听不懂"(回炉)。餐饮区顿悟:"如果迪士尼要拍我们的电影会是什么样?"——自上而下从电影公司角度审视。
- 大片(超越生活)vs 独立(依赖执行);"这个创意适合我吗"——写你最喜欢看的类型;先列多个创意(16 个里选 1 个)。
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