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03/01/12(Thu)08:40 No.317071From AKR's email:
>I am just a freelance writer here, not a network executive.
Does anyone know how writing staff is handled for stuff like this? On many other TV shows, it's "Staff writers" that work together in a large office, right? For (children's) cartoons, is it typically just "freelance writer hired for X episodes, who works independently from everyone else, story editor works with writer directly to ensure consistency and such"? I understand that there's a big benefit in terms of how flexible the writer can be, and perhaps makes it cheaper than having them hired full-time, but wouldn't they lose a large benefit gained from writer collaboration? Even more than that, (this isn't based off of that quote, it's from other stuff I've read) it's startling that the writing is generally a one-way pipe to the storyboarders and animators. Similarly, wouldn't it be better if the two steps could bounce off of each other, or, indeed, if part of the writing WAS the storyboarding?
Or is this just one of the reasons why most children's cartoons are dogshit? The fact that the companies involved are interested mostly in producing the content cheaply, resulting in ad-hoc staffing in many departments so there's little collaboration between the artists, or any retention and development of them, I mean. |
