"But here's the thing: what you do as a screenwriter is you sell your copyright. As a novelist, as a poet, as a playwright, you maintain your copyright"

Beth Henley’s reflection draws attention to a fundamental distinction between the worlds of screenwriting and other forms of literary authorship such as novel writing, poetry, and playwriting. Screenwriters, when creating scripts for film or television, typically transfer their copyright—the legal right to control the reproduction and adaptation of their work—to the producer or studio that purchases the script. This is standard practice in the film industry: the buyer, who invests significant resources into production, requires ownership of the material to control its use, adaptations, sequels, and distribution. As a result, while the screenwriter receives payment for their work, they generally relinquish the right to determine how their story is used or modified once the copyright is sold.

In contrast, novelists, poets, and playwrights usually retain their copyrights. While they might license their work to publishers, theaters, or producers, the fundamental legal rights to adapt, reproduce, or sell their writing remain with the author. This enables creators in these fields to maintain artistic control and benefit from their creations over the long term, earning royalties, approving adaptations, or even re-releasing their work in different formats. The retention of copyright can result in both greater creative autonomy and enhanced financial benefits for the author.

The implications of this difference are significant. For screenwriters, the very act of storytelling becomes more transactional, and the process can be less about long-term ownership than about crafting a one-time saleable product. Conversely, authors who keep their copyrights participate more fully in the ongoing life of their work. Henley’s observation highlights not just the business realities, but also the philosophical divide: one system rewards creative genesis with lasting ownership, while the other trades ownership rights for the collaborative, resource-intensive nature of film and television production, where stories become products to be adapted, marketed, and owned by others.