There’s little encouraging news for film and TV writers in the financial report for 2011 out today from the Writers Guild of America, West. (Read the full document here.) The number of writers reporting earnings fell 2.3% to 4,338 — the lowest level in at least six years. The biggest category, television, was up a slight 0.4% to 3,320. That was more than outweighed by the 8.1% drop in screenwriters to 1,562. Meanwhile, writers’ total reported earnings dropped 5.9% to $911.7M, the lowest level since the 2008 recession, although the WGA says the numbers could improve as late reports come in. Television writers generated $559.2M, -1.2% from the all-time high set in 2010. But screenwriters saw $349.1M, -12.6%. “While late reports will offset this decline somewhat, the last two years have resulted in 15% fewer writers employed in screen, earning 20% less in the aggregate,” the WGA says.
The picture’s mixed for the residuals that the union collected. TV was up 14% to $183.1M helped by reuse of programs in foreign territories and an increase in the number of shows made for cable. But theatrical films fell 9.8% to $128.5M — largely due to a 23.9% drop in home video to nearly $30M. The Guild ended the year with net assets of $34.4M, up from $31.7M. Its political action committee had net assets of $83,755, up $39,880.


Ideas emerge and producers hire cheap writers, if not have a poor aspiring writer do it for free. What wonderful movies we would have if writers were paid properly and scripts weren’t ruined in development.
One of the many reasons for this is the studio culture keeps giving multiple projects to the same “hot” writers because they think it will protect their jobs.
Also, they have allowed the proliferation of non-writing producers who shrink the budgets for staffing.
As for the WGA, they continue to ignore the pink elephant in the room and turn a blind eye to the invidious discrimination in the writers’ room, the agencies and the studios. They suport destructive “minority writers’ programs” which only taints and hurts the minorities and which discriminate against white male writers trying to get in.
I am a Black writer and I am forced to work for half the money and turn out twice the work off net. It is humiliating and the quality… well, there is none. But I am considered lucky to even be working. This article seems to support that notion.
Victor, I tried to make sense of your post but you may really need to get out of the cubicle and into some fresh air. It’s hard to believe you think the WGA should be called out for falling employment and earnings because it supports diversity programs. It’s not clear, are you in one or not? You obviously have contempt for them and as far as I know, participation is voluntary and by application. So I’m not sure why you would feel forced to endure humiliation. Also, from your achy concern about the poor “white male writers”, I suggest bringing your own beverages to work for awhile.
Im with you Victor. I WAS an aspiring screenwriter but am no longer interested in battling traffic going from meeting to meeting with studio executives who have already decided NOT to buy or option my script as soon as we shake hands; BEFORE the actual pitch.
Now I work as an independent blogger and am concentrating on building my following off of that. I started my blog just two weeks ago and already have people from all over the world reading it…over 350 views so far just today. This is what a writer strives for, to have their work read and shared and discussed…not sitting on someone’s assistants desk, only to have a few pages read before being tossed in the trash.
I wish all my fellow writers the best with dealing with these agencies and studios and trying to make a living in this not so great economy…but Im done with tryin to play this political game in Hollywood.
I generally find that when a commenter says they’re a “black” – in this case writer – the person always writes something that sounds anti-Affirmative Action. I think Victor’s actually white. Just saying. Why would a white writer even want to be in a minority program, if the minorities aren’t getting hired as much anyway? Jig’s up, Victor.
Does anybody else find it disconcerting that in the WGA financial report (linked in the article) there is a typo on the first page? “We are please to present the Guild’s…”
Yikes!
You don’t have to be a Paddy Chayefsky or a Rod Serling, to write for television or movies these days.
Today, it’s all about concept, style over substance. It’s bottom-line crap, that wouldn’t even make a first draft from William Holden’s character in SUNSET BOULEVARD.
As triple-threat writer,producer,director Billy Wilder said more than thirty years ago, “it’s kids making movies for kids”… what do you think he’d say today?
Graham, I do agree with you overall and the enormous success of TED this weekend probably has Billy spinning like a drying machine in his grave, but I do believe there’s a small sliver of people (execs included) who want to make movies that have true artistic merit. On a happier note, it’s hard to dispute that there is more great television drama, Mad Men, Homeland, Breaking Bad, Sopranos, The Wire than ever before.
Nobody needs to read a report to know it’s very hard to make a living as a writer for film and television. We do it because we love it and deal with an insane amount of elephant shit because we can’t imagine doing anything else. I wish it were easier, but it’s always been an incredible struggle. Read F. Scott Fitzgerald’s Pat Hobby stories about the life of a screenwriter c. 1940. Not great literature, but it shows you the game has basically always been like this.
Maybe “writers” will now get real jobs.
Goo goo. Or it smells like shit around here. To address all of the above comments.
1. Diversity creates diverse show runners = more minority viewers = more money for everyone.
2. Wga- start creating associate memberships again before you become the next dead union. Think blackberry how relevant is the wga to the industry.
3. Film was designed for the illiterate to entertain the masses. How can movies do that again when the amazing Spiderman was a chick flick with a crying hero. Better product = mo money mo money for all.