![]() The fact that 98% of the membership agreed speaks volumes. Over 98% of the membership agreed on the issues that most affected them. Several months ago, the WGA surveyed its membership about their concerns, then had members vote on a “pattern of demands”. We’re OK playing the role of the “starving artist” before we break in, but what seems romantic when you’re 25 is less romantic when you’re older and have mouths to feed.Įvery three years, the contract between the WGA and the studios – known as the basic agreement, or MBA – is up for ratification. But joy only takes you so far when you’re trying to provide for your family. We do it for the joy of living a creative life, and it’s not wealth that attracts us to this profession. Most of us don’t become screenwriters for the money. I don’t think the studios are considering the long-term impact of such a decision. The talent pool will dry up, which will ultimately hurt the quality of shows produced. As it becomes more and more difficult for screenwriters to sustain a living, however, these creative people will be forced to leave the business to pursue more lucrative vocations. Experience is how they protect their investment.įor the past several years, it hasn’t been too difficult for studios to find those experienced writers. Career writers are experienced, and generally studios will only trust a show with a multimillion dollar budget to an experienced writer. In the long term, this will be bad for Hollywood. No writer can count on selling a pilot every year, no matter how good they are.īecause of this, it’s becoming harder and harder for writers to sustain a career. Sometimes a screenwriter can sell a pilot or a movie on the side, but again, this is a high hurdle to jump. In the long term, this will be bad for Hollywood ![]() ![]() It’s becoming harder and harder for writers to sustain a career. The reality is, it’s hard enough to get one job per season, much less two. If a writer is lucky and the stars align, they might be able to jump to another show. Today, if you’re on a hit show you’re lucky to produce eight or 10 episodes a season. Then you’d take a short hiatus and do it again. Years ago, if you were writing on a hit show, you’d produce 22 or even 24 episodes a season. Most writers get paid per episode produced. Despite that fact that there seem to be more shows than ever, television writing staffs have decreased in size so has the average term of employment.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |