THE BUSINESS OF BOXING

BOXING, MARTIAL ARTS AND TELEVISION SCREENWRITING

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WRESTLER MOVES YOU WILL SEE IN MMA!
WRESTLING MOVES YOU WON'T SEE ON MMA!
FRANK SHAMROCK: RETIRE OR NEW STRATEGY?
FRIENDS OF THE BUSINESS OF BOXING ON MYSPACE
PARENTS AND PRODIGIES
PROFESSIONAL FIGHTING SPORTS, THE RECESSION & CHARITY
THE PUBLISHER-MIKE BALLARD
BOXER GREG PAGE PASSED APRIL 27, 2009
LOSERS WHO WIN
GYM ADMINISTRATION: ORGANIZING BOXING TRAINING
CURRENT ARTICLES
BOXING, MARTIAL ARTS INSTRUCTORS AND GANGS
A NIGHT OF BOXING OFF BROADWAY
THE WORLD TEAM FIGHTING ASSOCIATION
THE RISE OF WORLD PRO FIGHT LEAGUES
BOXING, MARTIAL ARTS AND TELEVISION SCREENWRITING
BOXING AND WEIGHT MANAGEMENT
THE SUPERSTAR FIGHT TRAINER
DANA WHITE OF UFC TRASHES BOXING!
CREATING YOUR OWN FIGHTER APPAREL
CALLING OUT YOUR OPPONENT
ARCHIVED ARTICLES
SECTION 1 ARCHIVES-MANAGEMENT
YOUR FIGHTER ORGANIZATION
THIRD WORLD FIGHTERS, AN UNTAPPED MARKET
MAKING BUSINESS DEALS IN THE FIGHT GAME
INVESTING IN FIGHTERS & THE FIGHT GAME
SCOUTING YOUR OPPONENTS, SETTING UP A SCOUT NETWORK
AVOIDING SUCKA FIGHTS: CHALLENGING THE RIGHT FIGHTERS IN ROUTE TO THE TITLE
HAVING TROUBLE FINDING A SPARRING PARTNER; CHECK THIS OUT!
BOXING NEGOTIATION, PART 2; THE RULES OF NEGOTIATING
BOXING NEGOTIATIONS, PART 1
PROMOTIONAL CONTRACTUAL AGREEMENT-STARTING YOUR BOXING CAREER, PART 2
STARTING YOUR BOXING CAREER
MANAGING FIGHTERS AND THE GROWTH OF FIGHTING
SECTION 2, FIGHTER DEVELOPMENT
HEAVYWEIGHT CHAMPIONSHIPS-NO MORE AMERICANS!
SKILLZ & DRILLZ-THE ART OF SLIPPING PUNCHES
SKILLZ & DRILLZ-SLOWING DOWN THE SPEEDY OPPONENT
TIMING-THE "DIRECT CONNECT" OF FIGHTING SPORTS
THE "OVER" PUNCHES-THE SNEAKIEST PUNCHES IN THE BUSINESS
SKILLZ & DRILLZ-KILLSHOTS-SETTING UP YOUR OPPONENT FOR A KNOCKOUT
SKILLZ & DRILLZ-MULTIPLE OPPONENT DRILLS
FROM LOSING TO WINNING!
UNDERSTANDING POWER. PART 2
UNDERSTANDING POWER, PART 1
YOUTH, WHY THEY SHOULDN'T RESIST RESISTANCE TRAINING
SKILLZ & DRILLZ-BALLOON TRAINING FOR BOXING AND KICKBOXING
SKILLZ & DRILLZ-STEP JUMPING KICKS
SECTION 3, MEDIA AND PROMOTION
ALIGNING WITH CELEBRITIES TO PUBLICIZE YOUR FIGHT OR FITNESS BUSINESS
SKILLZ & DRILLZ-THE IMPORTANCE OF VIDEOTAPING FIGHT TRAINING
PROMOTION-STARTING YOUR INTERNET RADIO
CLUB OWNERS & FIGHTERS-PUBLIC CABLE ACCESS TV AS A TOOL
ICE HOCKEY AND PUGILISM
RAP, ROCK AND FIGHT PROMOTION
MULTIMEDIA-STARTING YOUR OWN RADIO PROGRAM
PROMOTION-THE TV FIGHT NIGHT PARTY
MARKETING-FREE, MAGIC WORD OR FOUR LETTER WORD
SECTION 4, GYMS,CLUBS AND PROGRAMS
SCIENTIFIC KNOCKOUT BY CHRISTIAN TOTO
AMERICAN IDOL AND CHAMPION BOXER
FIGHTER BOOT CAMP
THE NIGHT BEFORE YOUR FIGHT: SHOULD THERE BE SEX?
CHUCK NORRIS & THE WORLD COMBAT LEAGUE
CREATING A SELF DEFENSE PROGRAM
AVOIDING BURNOUT
CRIME 2006: THE NEED FOR SELF-DEFENSE
BARRY BONDS & JACK JOHNSON, THEIR CAREER SIMILARITIES
BOXING & STERIODS
BOXING AND COLLEGE SCHOLARSHIPS-A COMMENTARY
BOXING AND THE EXURBS-DEVELOPING NEW MARKETS
UNDOCUMENTED BOXING OR FIGHT CLUBS
TRAINING FIGHTERS VIRTUALLY GYMLESS: THE GARY RUSSELL SENIOR STORY
EXHIBITION BOXING-THE OTHER SIDE OF FIGHT PROFESSIONALISM
OVERTRAINING: THE KEY TO A CHAMPIONSHIP-THE MILETICH FIGHTING SYSTEM
BOXING AND MIXED MARTIAL ARTS; A MERGER?
PROFITING FROM THE ELDER BOXER
MIXED MARTIAL ARTS- SELLING YOUR SKILLS TO FOOTBALL
EXOTIC FIGHTING-BIKINI & NUDE BOXING & GRAPPLING
BIG PROFITS IN AFTER SCHOOL PROGRAMS
A RESPONSE TO FIGHTING & BRAIN DAMAGE FROM RUSTY ROSENBERGER
WHAT IS THE BEST MUSCLE BUILDING SUPPLEMENT TODAY?
FULL CONTACT FIGHTING & BRAIN DAMAGE
DEVELOPMENT COMPETITIONS
THE MATURATION OF MIKE TYSON
BOXING BIKINI BEACH PARTY
EVERYBODY WINS-THE USE OF CONSOLATION FIGHTS AS A RETENTION TOOL
LEGAL LIABILITY AND THE MARTIAL ARTS BY BILL MC CABE
BODYBOXING BY RUSTY ROSENBERGER
"HELP!, SOMEBODY HELP ME WITH THESE KIDS!" MARYLAND BOXING COACH NEEDS HELP!
BOXING AND CANCER-THE CHAMPION INSIDE, A NEW FILM
FEMALE BOXER DIES IN BOUT
FIGHTERS AND DEPRESSION
OPERATING YOUR OWN BOXING, WRESTLING AND MARTIAL ARTS SUMMER CAMP
SO YOU WANNA BE A FIGHT PROMOTER!
ALTERNATIVE GYMS
STARTING A BOXING GYM,PART 3-THE MINI GYM
MIKE TYSON AT THE CROSSROADS-TRAINING THE OLDER FIGHTER
STARTING A BOXING GYM, PART 2, WRITING YOUR BUSINESS PLAN
STARTING A BOXING GYM, PART 1
ONLINE TRAINING: A GREAT WAY TO EXPAND YOUR CLUB!
WRESTLING IN HIGH SCHOOLS USA-GIRLS COMPETING AGAINST BOYS
WRESTLING-LADY WRESTLERS, SUPERSTARS AND SUPERWOMEN
EXPANDING YOUR CLUB-COLLEGE BOXING AND KICKBOXING
BOXING & WRESTLING-SPRING BREAK CAMP
SUMMER BOXING RETREATS
CURRICULUM-EXECUTIVE BOXING
ENHANCING YOUR BOXING CAREER-SPARRING PARTNERS
GAMES & COMPETITION-THE HEAVYBAG RACE
Contact
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BOXING, MARTIAL ARTS AND TELEVISION SCREEN WRITING

 

The world of entertainment never get enough of violence, whether in the movies or on television.

 

Boxing and martial arts have a long history of entertainment in the cinema and TV.  If you are interested in boxing or martial arts, and television is one of your favorite leisure time activities, then why not try your hand at screenwriting.

 

I chose writing for television because it is the larger and most active media between the cinema and TV.  You may be a little luckier with TV because the media is so big worldwide.  There are more sub categories with television also.  Such as:

 

  • Commercial television
  • Public television (Educational television)
  • Cable television

Your writing may be used in local, regional or national television.  It seems there are no limits to where and who you can sell your script to because there is television on every part of the globe and nations are looking for plots to keep their audiences entertained.

 

There are plenty of ways to learn how to write scripts for TV.  You can learn from books, CD and DVDs, attend screen writing seminars, attend colleges such as University of California at Los Angeles (UCLA), and join the many websites on the web that is dedicated to the art of screenwriting.  The sites explain the process of writing plays.

 

People watch TV to see what happens to the character they love.  The main structure of television writing is the show has to be the same show every week and at the same time has to be new and different each time.

 

Audiences may watch their favorite characters but those characters can work only if they are placed in the right context, if they are given challenges, risks, perils and adversities.  You have to study how stories are told, how the characters are developed, and how conflict is dramatized.

There are screenplays you can examine at the writers Guild of America Library and the National Academy of Television Arts and Sciences.

 

Invest in a subscription to Daily Variety, the industry trade paper. The magazine will tell you who is doing what, what the studios are developing, what new shows networks are looking at, what shows are coming to first run syndication, and other pertinent industry news.

 

For a TV show to be successful, its season needs twenty-two stories that are new and different and at the same time all exactly the same.

 

A television series is a business, an episode is a product made every week in a specified number of days for a certain price and delivered at a guaranteed running time on an inflexible deadline. There is a customer; the television network, it expects the product it is paying for to satisfy its needs and desires.

 

People chiefly in charge of TV production are:

 

  • The executive producer also known as the showrunner, is in charge of every single aspect of a TV show: the scripts, the sets, the clothes, the actors, the budget, everything. He hires and fires everybody. He gets credit if the show works or fails.  Some shows have multiple executive producers.

 

  • Supervising producers are the executive producer’s second in command and are usually in charge of the writing staff.  He handles all the more of the technical aspects of the show such as casting, writing etc. He is usually on the set.

 

  • The producer is usually a writer whose duties have expanded into doing some of the casting, being on the set to work with the actors or directors, or helping out in the editing room. 

 

  • Co-producers and associate producers are often writers with just a few less responsibilities than a producer. Associate producers are usually the ones in charge of postproduction: everything that happens to the show after it has been shot, the editing, music, sound effects, color correcting, credits and all the technical responsibility of the associate producer.

 

  • Staff editors are essentially full-time writers on the show.  Their job is to do nothing but write original scripts, rewrite freelance scripts, and contribute to the development of the stories and scripts.

 

  • Staff writers are full-time writers on the show. They don’t rewrite anyone else’s script, but work on their own scripts and help break stories with the rest of the staff.

 

  • Freelance writers are outside writers who go from series to series writing individual episodes on a freelance basis.  This is how every writer breaks in. It is the first step toward getting on staff, rising through the ranks and running your own television show.

 

 

 

Agents are the first line for TV producers.  They read through scripts to find the best writing and writers whom which they make their living on.  They make sure that the situation for the producer and writer good so the production company does not get sued.

 

Once an agent sends you to an interview with a TV producer, he assures that your work is professional.

 

If an agent is good, he has contacts at all the studios and networks, he has good relationships with successful producers and he know what shows are out there and what shows will be cancelled. He will know where there are script assignments available and which producers are most likely to respond to your writing. He will introduce development executives to your writing so they will recommend you for projects. He will shape your career by advertising you on which work to accept and which offers to reject.

 

You can find an agent by calling The Writers Guild of America. They will send you a list of agents who have signed with The Writers Guild of America and signed an agency agreement with The Guild.  These agents meet the standards of conduct and professionalism set and maintained by the Guild.  They have consented to negotiate agreements that writers of, at the least, the rights and minimum fees established by the overall contract the Guild negotiated with the studios and networks.

 

Keep in mind once a script is accepted, you are paid $30,000 to $40,000.

 

START WRITING…

 

…AND KEEP YOUR GUARD UP AND KEEP ON PUNCHING!

 

 

 

 

 

 

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