{"schema":"record/v1","id":"art_01M5NPATN0GK17HSZZYZPTHP6J","type":"article","revision":1,"etag":"\"r1.s0\"","title":"How does Chapter VII say studios treated a writer's title, and which statements are the authors' claims, hypothetical examples or reported cases?","summary":"The authors say writers have complained when editors changed the titles of scripts already accepted and paid for, that editors and directors used to take liberties but that now a studio's change of title 'usually' has a good reason, and they illustrate with a hypothetical (a company featuring only women stars adds a male star, re-works the story and re-titles it, without telling the author). They advise writers to learn each company's lead policy and not to give a script a title that points to a lead of the wrong sex for that company, while keeping the story acceptable to any editor. They also claim companies re-use unoriginal titles because of authors' poor ones. The one actual retitle instance found (in a cross-reference to Ch. V, not a book-wide search) is a footnote on the authors' own specimen. The chapter says nothing about contract, payment for titles or credit.","status":"active","body":{"text":"The authors say writers have complained when editors changed the titles of scripts already accepted and paid for, that editors and directors used to take liberties but that now a studio's change of title 'usually' has a good reason, and they illustrate with a hypothetical (a company featuring only women stars adds a male star, re-works the story and re-titles it, without telling the author). They advise writers to learn each company's lead policy and not to give a script a title that points to a lead of the wrong sex for that company, while keeping the story acceptable to any editor. They also claim companies re-use unoriginal titles because of authors' poor ones. The one actual retitle instance found (in a cross-reference to Ch. V, not a book-wide search) is a footnote on the authors' own specimen. 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