Forum - View topicHow do anime companies get their scripts?
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Zenel
Posts: 2 |
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I have been doing research about anime scripts and there are some questions I couldn't answer.
1. How do anime companies choose their scripts? Do they work with professional writers or do they accept scripts from amateurs too? 2. What is the number of amateur writers who are trying to sell their scripts? 3. I found out that toy companies invest in anime. How do they find the scripts? 4. How do professional and well known writers sell their scripts? Do they find companies to sell or companies hire them? Thanks for answering! |
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Key
Moderator
 Posts: 18443 Location: Indianapolis, IN (formerly Mimiho Valley) |
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While I'm not an expert on this subject, based on what I've read anime companies typically don't "buy" scripts. Projects are proposed and scripts are written either to conform to them or (vastly more commonly) to adapt a previously-existing source material, most commonly a manga, lite novel, visual novel, or game. Original productions are almost always conceived by well-established names or internally generated by well-established companies; cases where someone comes out of nowhere to get an anime project done on their idea are extremely rare and typically only happen if the project is self-produced (as was the case with Makoto Shinkai's Voices of a Distant Star).
And the toy companies that "invest in anime" don't get involved in the nuts and bolts of actually producing the anime, so they probably have no involvement with the scripts beyond possibly pushing for certain elements that they feel need to be covered. |
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Zenel
Posts: 2 |
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Thanks for answering.where can i get the information you have about scripts?liks of websites or names of magazines would be very helpful.
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yuna49
 Posts: 3804 |
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I think you need to reread Key's comments again. Most anime are adaptations of existing material, typically manga, light novels, and less commonly videogames. The plot of the adaptation typically follows the story as written by the original author. Sometimes there are "filler" episodes written by someone other than the author, and sometime anime endings must be rewritten to conclude shows whose underlying material like a manga are still ongoing. Claymore is a notorious example of this problem. Most animation begins with a "storyboard" which employs rough sketches of the major scenes in the story and imagines how they will look on-screen. I suspect the actual scriptwriting task, though important, usually falls to a staff writer or contractor. The dialogue probably consists of a mix of the author's language and content written specifically to fit the anime format.
Some directors have enough clout to mount original anime productions. If you look at the ANN staff lists for these shows, you'll often see directors as the primary creative force. Being animators, I'd imagine they visualize the story first and let staff writers deal with the dialogue down the road. As an example, take a look at Kamiyama Kenji's Higashi no Eden. He is listed as the director and as a script writer on all eleven episodes, but he is joined by six other writers as well. Some original productions start with a director and include the screenwriter as a collaborator. The peripatetic Okada Mari often writes the entire script of the shows on which she works like AKB0048, where she collaborated with well-known director Kawamori Shoji on an original story derived from the popular idol singing group AKB48. Puella Magi Madoka Magica resulted from a collaboration among series director Miyamoto Yukihiro, director Shinbo Akiyuki, and script writer Gen Urobuchi. Which of these men was the original creative force I cannot say. My guess is there is no standard pattern for the creation of original works beyond directors being the primary creative force. Most normal anime results from a collaboration called a "production committee," which can include a publishing house, an animation studio, one or more television networks, and sometimes toy and hobby products manufacturers. Justin Sevakis wrote an excellent summary here a few months back on the entire anime production process. You should start by reading that. While it is common for anime fans to think of these shows as works of art in themselves, most production committees view them primarily as a marketing tool to generate demand for the original publication and ancillary products like figurines and dakimakara. Late-night anime shows, the kind people overseas generally watch, are often not financed by advertising revenues at all. Rather the production committees buy television time from the networks to carry their anime productions. Many shows fail to break even when it comes simply to DVD and BD sales but might be still be viewed as successful if they stimulate a substantial increase in the sales of the original manga or novel. |
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