[2] Screenwriting historian Steven Maras notes that these early writers were often understood as being the authors of the films as shown, and argues that they could not be precisely equated with present-day screenwriters because they were responsible for a technical product, a brief "scenario", "treatment", or "synopsis" that is a written synopsis of what is to be filmed.There are a legion of would-be screenwriters who attempt to enter the film industry, but it often takes years of trial and error, failure, and gritty persistence to achieve success.[5] In some cases the script is based on an existing property, such as a book or person's life story, which is adapted by the screenwriter.When word is put out about a project that a film studio, production company, or producer wants done, they are referred to as "open" assignments.Hollywood has shifted writers onto and off projects since its earliest days, and the assignment of credits is not always straightforward or complete, which poses a problem for film study.In his book Talking Pictures, Richard Corliss discussed the historian's dilemma: "A writer may be given screen credit for work he didn't do (as with Sidney Buchman on Holiday), or be denied credit for work he did do (as with Sidney Buchman on The Awful Truth).[5] A screenwriter becomes credible by having work that is recognized, which gives the writer the opportunity to earn a higher income.They have 14 different affiliates across various nations who collectively work to verify original authorship, fight for fair compensation, and enforce copyright.