Most screenwriters focus heavily on their original spec scripts (screenplays written under speculation that they will be sold) — and rightfully so. We get into screenwriting because we have cinematic stories we want to tell. 

However, a majority of screenwriting contracts both in and out of the Hollywood system entail screenwriters writing other people’s ideas. That’s right — a majority of what you will be doing as a professional screenwriter is a work-for-hire experience where you will be developing and writing screenplays based on other people’s concept, intellectual property, and, yes, rewriting other people’s screenplays. 

Here we offer a look into the world of pro screenwriting contracts, namely writing assignments where a screenwriter is being brought in to rewrite a script that a company owns — a script that was written by another screenwriter. 

Writing Assignments vs. Spec Script Sales

Before we get into the concept of rewriting another screenwriter’s work, let’s discuss the different expectations you should have when it comes to signing a writing assignment contract and selling one of your original spec screenplays. 

How Are Spec Scripts Sold?

Spec script sales do happen in and outside of Hollywood all of the time. You can and should keep that dream of selling your cinematic story alive. 

You go about attempting to sell your work by the simple, yet sometimes arduous, process of:

• Developing and writing an original screenplay.
• As an unrepresented newcomer, submitting it to major contests like Final Draft’s Big Break and the Academy’s Nicholl Fellowship, among others with great access to Hollywood. 
• Marketing your screenplay to managers (agents usually don’t come into play until there’s a deal to negotiate on the horizon), development executives, producers, etc. 
• As a represented screenwriter with a manager and/or agent, having your reps submit your original script to studios, production companies, financiers, and talent. 

If the stars align, someone can make an offer to purchase your script with the intention of producing it. 

What happens after that varies greatly, depending upon money, scheduling, networking, and a little bit of luck. But the hard truth is that selling a spec script is difficult and can take years of effort before that happens — even for pro screenwriters with established credits and careers. 

Compared to the number of spec scripts looking for a deal out there each year (thousands), only a handful (small percentage) of them are ever sold, with an even smaller amount ever getting made.   

That is why writing assignments are a screenwriter’s bread and butter. 

What Are Writing Assignments?

Writing assignments happen when a studio, production company, network, streamer, or producer hires a screenwriter to do one of two things:

1. Develop and write a screenplay based on another’s concept or acquired intellectual property. 
2. Rewrite a screenplay that a previous screenwriter has written, but one that needs work based on the needs and wants of the powers that be.  

Here’s where your spec scripts can still come into play though. You may not sell your original spec script, however, it can be used as a writing sample to prove that you have what it takes to develop and write someone else’s idea or rewrite someone else’s script. 

How Do You Start to Rewrite Another Screenwriter’s Script?

It really depends on the situation, as well as the wants and needs of the company that owns the script.

A lot of basic but important questions will be answered during your collaboration with whoever has hired you for the rewrite assignment.  

• Why did they replace the writer?
• Why did they bring you in to rewrite the script?
• What do they like about the original draft?
• What don’t they like?
• What do they want to keep?
• What do they want to tweak?
• What do they want to delete?
• What do they want you to insert into those deletion areas?
• What ideas can you bring to the table to make your draft better?

All of these questions and more will be answered during the initial meetings before — and shortly after — you sign on for the assignment. 

Based on these story and character development (or redevelopment) discussions, you’ll have an idea of what you want to bring to the table, and what their wants and needs are for this rewrite. 

• Maybe they want it to be funnier, and you’ve shown strength in writing comedy?
• Maybe they want it darker or scarier, and you had some great horror writing samples?
• Maybe the script needs more effective and exciting action sequences, and your writing samples showed that you can do that consistently?
• Maybe the overall original draft was great, but the dialogue was lacking, and your writing samples showcased that you have a unique voice when it comes to dialogue?
• Maybe they love the concept but the overall delivery was disappointing?

These and any other number of reasons will eventually lead you to know where you can start with the rewrite. 

Can and Do You Still Use the Words Written by the Original Writer?

When you sell a screenplay to a company, or are hired by them to write it, the screenplay doesn’t belong to the screenwriter. Each and every word on those pages belongs to whoever is the current rights holder.

Rewriting assignments involve using as much or as little as the original script as is needed. 

Some rewrites involve nothing more than punching up certain elements to enhance the script. 
Other rewrites involve huge overhauls. And then there are page-one rewrites that come into play as well. 

What Is a Page-One Rewrite?

A Page-One Rewrite occurs when it’s agreed upon between the company/producer and the newly hired screenwriter that starting from scratch is the best option for the future of the project. 

The basic concept, upwards of a few characters, and maybe some locations and story beats are all that survive from the original draft. Beyond that (sometimes even less), the screenplay is rewritten from scratch. 

Because you would be starting anew, you may be asked to write an outline (beat sheet) that covers all of the major story beats and scenes from beginning to end. An outline allows you and the powers that be the ability to develop, collaborate, and problem solve the story and characters before you type a single word of the script. 

After that, you will start writing the script much like it’s an original screenplay. Sure, you can still use some dialogue, story beats, characters, character arcs, and other elements from the original draft that you’ve been assigned to rewrite, but it’s still a page-one rewrite that has you writing a completely new script. 

Keeping the Same Voice of the Original Writer and Screenplay

This is probably the most difficult part of rewriting another screenwriter’s work. You’ve likely seen plenty of studio movies that just feel as if certain portions were written by other people. In the context of big studio movies, they probably were. 

If you’re not doing a page-one rewrite, you’re going to be tasked with matching what is being kept. 

• Character personalities need to be the same or adjusted. 
• Character dialogue needs to be the same or adjusted. 
• Pacing needs to be the same or adjusted. 
• Story elements need to be matched or aligned to make sense. 

In the end, it’s actually quite simple — the draft you hand in should read like a single vision of a story. Screenplays are blueprints for cinematic constructions called films or movies. It’s all about telling an effective story that future collaborators in many different departments can bring to life. 

How can you accomplish that?  

Here are some pro screenwriter tips when it comes to rewriting someone else’s script on assignment:

• Reread the script from beginning to the point you left off before you start writing again to help you maintain the same voice, tone, atmosphere, pacing, and style. Do this every rewriting session and continue to tweak as you read.  
• Either adjust your writing to the original script, or make necessary changes during your rewrites to the scene description, dialogue, and elements so the script matches your voice.
• When you’ve gotten to the end of the script, having fully rewritten it, go back and read it from beginning to end and tweak it as you go to ensure that the voice, tone, atmosphere, pacing, and style is the same throughout. 
  
• When you’re asked to keep elements you may not agree with keeping or may be much different than your style, do your best to adapt and find the perfect hybrid. That’s part of being a pro. 

Once a project changes hands, neither the new writer nor the hiring company is beholden to the previous draft — there’s no obligation to retain its structure, scenes, or voice, no matter how much work or passion the original writer poured into it.

Will the Original Screenwriter Share On Screen Credit?

In the Hollywood system, on screen credit is given only to the screenwriters whose work is present on the screen in the amount of 33% or more of the produced and released product (the final released cut). 

This is a Writers Guild of America stipulation. However, even most non-Guild projects (projects made by non-Guild signatory companies) follow this formula as well. 

So, if the original screenwriter’s work is very present on screen — in detail (dialogue, sequences, etc.) — to the tune of 33% or more of the final cut, they’ll likely share a screen credit with you as long as your work matches or exceeds that percentage as well. 

If you are only brought in for a touch-up of sorts, rewriting some dialogue or action sequences, you won’t be credited on screen for your work if it falls below the 33% bar.

Thus, it goes both ways as far as the general stipulations of on screen credit when it comes to screenwriters. That’s why when you see screenwriting credits, you’ll never see more than three screenwriters credited, unless two or more screenwriters are credited together as a writing team, always linked together by an ampersand (A Screenwriter & B Screenwriter). 

It’s always key to remember that when you’re a pro screenwriter writing under a rewrite assignment contract:

• There’s no guarantee that you’ll receive on screen credit unless you meet general stipulations.
• You can be rewritten by other screenwriters, just as you’ve been tasked to rewrite the scripts of others.   

But that’s just the business-end of things to expect. Always hope for the best, and prepare for the worst when it comes to the end-outcome of on screen credits. 

And always remember that even when you don’t get that on screen credit, you’re making money (hopefully) doing something that you love. Plenty of amazing and talented and successful screenwriters making a living as pro screenwriters have done work that they’ve never been given on screen credit for. 

Remember: Rewriting Is Writing

Whether it’s rewriting your own script, or someone else’s, rewriting is no different than the actual writing process when you start anew — you’re there to write the best screenplay possible. 

Rewriting yourself can be just as complicated or easy as rewriting another screenwriter’s work. You make it your own no matter what. Make sure it’s consistent, well-paced, clear, concise, cathartic, cinematic, and engaging. 

And have fun with it!