COMPOSER
Composers write music for both instrumentals and vocals in a variety of forms: popular music, classical music, rhythm and blues tunes, symphonies, ballets, operas, radio or television commercials, theme music, background music, sonatas, Broadway music, jazz, country, and many others.
For instance, composers may be hired to write the music for theatrical musical productions or operas. As is the case with any musical production, composers usually work from a script after conferring with the writers, producers, and directors of the show to gain a better understanding and feeling for what the work is all about.
Songs must always fit in with a play's theme. All of the specifications that must be met make this profession a difficult one, especially since all of the people involved must like what the composer has created. If this is not the case, the composer must begin all over again.
Geographically, it is possible to write songs in any area of the country, actually any area of the world. However, staff positions with producers, recording groups or recording companies are more easily secured in cities like Los Angeles, New York, or Nashville, Tennessee.
For talented composers who are looking to begin a career writing for musical productions, prospects exist in smaller theaters and production companies. Otherwise, you must team up with someone who will be willing to finance the project.
Once composers have established a reputation, they may be approached by producers to write the music for their project. Composers who have gotten good reviews will be offered additional projects.
SONGWRITER
Songwriters may focus on writing melodies, lyrics, or both. Their songs may be designed to be sung by performers at concerts or on CDs; as part of the music for plays, television, films; or even as radio or television jingles. Songwriters may operate alone or develop a partnership (collaboration) working with another music professional.
There are two basic approaches to writing music. Most songwriters write at specific times during the day or night, establishing a regular routine just as everyone in any profession does. Some songwriters may wait for inspiration and write when the mood or the spirit moves them to write. But this is a risky approach to this profession, especially if you are interested in making a living at it.
Once songs are written, songwriters must officially copyright them through specific governmental agencies. There is another procedure in which the songwriter places a finished piece of music in a self-addressed envelope, sends it to himself or herself via certified registered mail, and keeps it intact without opening it. Most people in the business believe that copyrighting through official channels is much safer.
Songwriters must not only write songs, they must learn to be effective at marketing them. Nothing is gained if that is not accomplished because there can be no "hit" if the song is never heard.
In order to get attention for a song, the songwriter will make up demos and send them to people who might be in a position to further the song's potential. Before doing this, however, it's a good idea to mail a letter that highlights its features and piques the reader's interest. If successful, the song may be accepted by a recording group, music publisher, or some other individual associated with the music business who can promote it.
ARRANGER
Arrangers are faced with the task of changing an existing piece of music to create new harmonies and alter and improve its rhythms. Arranging may be performed for any musical instrument. Proficient arrangers will rework a song with current trends in mind to try to turn it into a hit. They may work for music services like Muzak or for music publishers, for television, or for the motion picture industry. Sometimes, established musicians move on to become arrangers, often working as freelance professionals.
PLAYWRIGHT
Playwrights write original plays such as tragedies, comedies, or dramas or adapt themes from fictional, historical, or narrative sources for dramatic presentation. Sometimes an individual writes a play and then attempts to locate a producer to finance it and put it into production. In other cases, a producer may have an idea and retain a playwright to develop the script.
In order for the playwright to write a script, he or she first develops an idea for a story. The individual must then tell the story. There are many areas that must be considered. Will it be a comedy, mystery, thriller, or musical? Who will the characters be? What will they be like? What will the setting be? How will the story be told? What conflicts will the characters be involved in? What will the resolutions be? What will the climax of the play be? How will it end?
When a playwright creates a story, it must be written in a specific form for the theater. The script must be written in dialogue. Generally, a script indicates the dialogue that a character is supposed to speak. The lines are next to or under the individual character's name. The playwright also must include settings of scenes, settings' descriptions and movements that a particular character must make.
Since playwrights often work by themselves, their day-to-day existence can become quite lonely. However, most prominent playwrights feel that seeing their ideas, stories, and innermost thoughts presented for all to see is enough to keep them going through the preliminary stages of creating something new.
There are more opportunities in this field in culturally active cities. An aspiring playwright can look for a job as a playwright-in-residence at a repertory, community, or school theater. Individuals also might submit their scripts to producers who have not yet made a name for themselves, but also are trying to break into the business. Other possibilities include community theaters, college theaters, and experimental theaters. These kinds of groups often are looking for new plays to present.
SCREENWRITER
Writing screenplays for movies incorporates a little bit of theater and a little bit of television. You go about writing for movies the same way as you do for television, except that you can send your scripts to independent producers and to production companies. But there are film-writing courses, both in colleges and in other educational facilities that will help you learn the craft of writing for film.
A screenwriter writes scripts designed for entertainment, education, training, sales, and films. Themes may be chosen by the screenwriters themselves or by a producer or director. Every show or movie you see is written by someone in the form of a script.
If you have already written a script, you might want to send it to an agent. Before doing so, you would need to compose a cover letter telling him or her that you are interested in writing for television and would like representation. Indicate that you are enclosing a sample script. If the agent is interested in you, he or she will try to secure writing positions for you on various shows. To deal with television and motion picture people, you usually need an agent.
DRAMA (OR THEATER) CRITIC
Critics, in general, can seriously affect whether or not a play or other comedy or dramatic event will meet with real success, both financial and otherwise. Drama critics are assigned the responsibility of viewing plays and writing their opinions of the performances.
ON THE JOB
Composers and arrangers often do much of their work as a solitary endeavor. Usually the work place is one's home or studio.
Since those who engage in this kind of work must often juggle a number of projects all at one time, they may be required to work days, evenings, weekends, and even holidays if deadlines must be met. In order to accomplish this, a great deal of discipline and planning are required and stress must be overcome.
Freelance screenwriters or playwrights can choose when and where to write. However, if you are lucky enough to find work and do not reside in Hollywood or New York City, you may need to travel before and after the production. Relocation is even a possibility.
Because there are also long periods of inactivity while trying to get projects chosen by studio executives or directors, most screenwriters have a second job in order to meet living expenses.
TRAINING FOR COMPOSERS, SONGWRITERS, AND ARRANGERS
Though no formal education may be required to become a songwriter, composer, or arranger, a great deal of knowledge, expertise, and musical ability are required to be successful in these careers. Those interested in doing this kind of work often attends colleges, universities, or conservatories and major in music and/or theater arts. Studying music theory, orchestration and harmony are valuable. Many times songwriters, composers, and arrangers began musical training at an early age and are proficient on at least one instrument.
To build toward a career as a composer, experts advise that you become familiar with all kinds of productions involving music, listen to a variety of Broadway musicals and operas, write for school and/or local productions, find a related internship (also check with local production companies to see if they provide any kind of workshops or other training vehicles), and work in summer stock or regional theater productions. Experience in writing poetry also may come in handy.
Music conferences, workshops, and the like also will increase an individual's expertise in composing and arranging. Both experience and contacts are gained when arranging music for others or through working as a copyist (one who does transcribing). Other possibilities include playing an instrument in a professional arena such as in a band or symphony or applying for a grant from the National Endowment of the Arts (NEA).
On a personal level, composers need to be creative, disciplined, musically talented, persistent, and patient. Also required are sufficient business acumen, worthwhile music contacts, knowledge of instruments, and adaptability. Good timing and a measure of good luck are also pluses.
TRAINING FOR PLAYWRIGHTS, SCREENWRITERS, AND CRITICS
While college will not guarantee success to a playwright, it is often useful. Colleges offering majors in theater, theater arts, script-writing or acting often have programs where aspiring playwrights can have their plays worked on, further developed, and produced at the school. This offers playwrights opportunities and experiences others might not have.
Seminars, courses, and workshops in all facets of writing, including scriptwriting as well as stage, theater, and acting, will be helpful in honing skills.
The more writing experience a playwright can garner the better. Writing skills and techniques need to be polished. Playwrights should have an excellent command of the English language and an ability to write dialogue effectively. They need to be creative and exciting and have the ability to bring stories to life. These also could be in the form of short stories, novels, or articles in magazines and newspapers. Entering writing contests (particularly playwriting contests) is an excellent way of getting noticed. Often these contests offer a staged reading or full production as the prize.
Playwrights must also be capable of marketing their plays. Once they are finished, it's wise to have them bound and copyrighted at the Copyright Office of the Library of Congress.
There are no set educational requirements for screenwriters. A college degree is desirable, especially one in theater or liberal arts that exposes the students to a wide range of subjects. Screenwriters must be able to create believable characters and build a story. They must possess a range of technical skills such as writing dialogue, creating plots, and doing research. Word processing and computer skills also are necessary.
Screenwriters must be persistent, patient, imaginative, creative, and skilled in negotiation techniques. They also must have the ability to tell a good story and possess expertise in verbal and written communications.
Newspapers, magazines, web sites, and other forms of communication may employ drama critics. To begin, contact a local publication and ask if you can review a dramatic event (even if you don't get paid for it). You need to begin to build clips (published articles). This way you may be able to work your way up to paid assignments, larger newspapers or magazines, or other types of publications.
Don't expect this to be a nine-to-five job. Drama critics may work evening and weekend hours and be faced with difficult deadlines.
SALARIES FOR COMPOSERS, SONGWRITERS, AND ARRANGERS
Since most composers and arrangers are self-employed, it is important to factor in the reality that they must provide their own benefits, including health insurance, vacation time, and pension. They also must absorb expenses such as copying fees, traveling costs, mailings, and organizational dues that can amount to several thousand dollars per year.
For established composers, payments or royalties often are earned every time their work is performed or published. Composers share with producers, who receive one-half of performance royalties.
Though earnings will vary, the following list provides a range of figures:
film score-up to $30,000 ; half-hour television show-up to $2,500; television movie-$12,000 to $15,000 ; television four-hour miniseries-up to $30,000 ; lyricist per song-up to $8,000
Yearly salaries will depend on a number of factors: how many songs are published or sold, how popular the song is, how many times it is played, and the agreement reached for each tune. As is the case with books, songs may be sold for one flat fee or be subject to royalties for the publisher and/ or writer. If songs are the result of collaborations, the total earnings will be split evenly between the two parties involved. Very successful songwriters may make $500,000 to $1,000,000 per year. However, it is also quite conceivable to earn only $1,000 to $8,000.
CAREER OUTLOOK
Competition is so keen that the outlook for those interested in these careers is not very promising. However, with talent, patience, and perseverance, one can succeed.
Only a small percentage of playwrights are able to sustain themselves full-time in this career. However, there are a number of people who are able to get their plays produced by smaller, community theaters and are waiting for reviews to build a solid enough reputation to take them to writing off-Broadway plays and then Broadway plays. The competition in this area is fierce as it is for theater in general.
There is intense competition in the television and motion picture industries. As cable television expands, new opportunities may emerge. Television networks continue to need new episodes for long-running series. Demand should increase slightly in the next decade, but the number of screenwriters is growing at a faster rate. Writers also will find opportunities with advertising agencies, educational training, and training video production houses.
