artwork. It would be protected more thoroughly if I actually registered that work with the
U.S. government by paying a fee and filling out the paperwork to obtain a copyright. Obtain-
ing a trademark would protect my work even better. There are those who feel that a copy-
right notice on a script title page looks unprofessional. It is true that top writers don’t bother
with copyright notices on their scripts, but top writers are represented by top agents who
look out for their work. Use your own judgment; legally your work is not protected without
the notice. Major studios always place a copyright or trademark notice on their artwork. If
possible, hire a lawyer to give you good advice, and read everything you can about legal
issues. The Writers Guild of America also allows you to register your work there. Get more
information by going to http://www.wga.org.
Other Legal Issues
In the United States if you don’t have an agent or an entertainment lawyer who can submit
your project, then you’ll probably have to sign a release form to get anyone to look at it.
These forms protect the studio and require you to sign away some of your rights. Do this
only if you have no other choice and are willing to risk losing some of the rewards of this
project if it means making contacts and getting a start in the industry. I wouldn’t recommend
it. It’s better to take more time, start relationships with people in the industry, and find a
way to submit without signing away your firstborn.
After you’ve protected your original work as well as possible, get it out there and stop
worrying about someone stealing it. Development people have offices stacked with presen-
tation bibles and scripts. Chances are your original idea isn’t original anyway but has already
been submitted in a similar form. What buyers are buying is your original take on an idea.
If they like how you handle your idea, chances are they’ll want you to be involved in devel-
oping it. Good ideas are everywhere. Media companies don’t want to risk lawsuits any more
than you do.
If you’re able to find an agent who will represent you, that’s great, but in animation an
agent is not a requirement. Either way you’re the one who will be doing most of the legwork.
In case you’re offered a contract and you have no agent to negotiate it, be sure to get an
entertainment lawyer to look it over first. Negotiate a price for his services before you hire
him, or put an upper limit on what you’re able to spend. A good attorney knows what is
possible for a newcomer to negotiate and what is not. And he can save you money in the
long run.
A bible from the animated series How To Care For Your Monsterfollows (figure 6.1).
88 Animation Writing and Development