Don’t Kill the Messenger 4
Posted on November 23, 2007
Filed Under Uncategorized
Wow… My inbox is literally overflowing with questions about the Writer’s Strike and what you, as a non-WGA member can and cannot do during this strike… Well considering that I belong to a NON-WGA Signatory prodco, I may or may not be the best person to answer these questions but what the hell… If it means less emails about this stuff, I will try to wade through and tell you what I know…
First of all, let me reiterate that the Writers do OF COURSE deserve what they are asking for… More if you ask me. Everyone worth a shit KNOWS without a doubt that within the next decade, damn near all movies are going to be streamed and or downloaded from the Internet and if you don’t think studios are gearing up for this, then you don’t know the studios.
That being said…
Come 26 November 2007, let us HOPE that the AMPTP pulls its head out of its ass because let’s face it — no way you’re going to find enough material without writers.
Here are the top questions I keep getting asked:
- Unk, I’m not a WGA writer but I want to show my support during this strike. Should I stop writing?
Hmmm. Are you already an outstanding writer? My guess is NOT YET. If this is true, then WHY on earth would you stop writing? I know WGA writers who haven’t stopped writing so WHY would YOU? Let me explain… While it might be a nice show of support, as long as you’re writing for YOU and NOT a WGA signatory or struck company, why not keep improving? When I say that I know WGA writers who haven’t stopped writing, I’m talking strictly writing for themselves and NOT for a studio… Not for a prodco… Not for anyone but themselves. It’s okay to keep writing that spec you’ve been hard at work on so keep working on it! If you want to support the strike, get on a picket line with the writers or check here.
- Unk, I’m not in the WGA but hope to be someday. Anyway, I have a producer that is interested in one of my scripts. Would I be considered a scab if I sell my script to him during the strike?
You don’t say whether or not the producer that’s interested in your script is with a struck company or not. If the producer IS with a signatory then YES, you will be considered a scab if you proceed during the strike. However, if (as I suspect) this producer is an Indie producer or with a non-signatory prodco, then NO, you would not be considered a scab if you proceed with a sale during this strike. To reiterate… To be considered a scab during this strike, you would either have to sell or write a script for a WGA Signatory.
On the other hand… If you were a WGA writer, the RULES clearly state that you cannot sell, write, deliver written materials, negotiate, or engage in discussions regarding present or future writing projects with a WGA Signatory company.
- Unk, should I be querying and sending out my scripts to producers since there’s a strike going on?
I’m assuming (once again) that you’re talking about producers with struck companies since it sounds to me as though you’re hoping this strike will somehow open a door for you. If so, the answer is an emphatic NO! Nobody likes a scab. If, however, you’re talking about non-signatory prodcos… Let me copy and paste Rule 13 of the 2007 Writer’s Guild West Strike Rules:
13. Rules pertaining to non-members
The Guild does not have the authority to discipline non-members for strike breaking and/or scab writing. However, the Guild can and will bar that writer from future Guild membership. This policy has been strictly enforced in the past and has resulted in convincing many would-be strike breakers to refrain from seriously harming the Guild and its members during a strike. Therefore, it is important for you to report to the Guild the name of any non-member whom you believe has performed any writing services for a struck company and as much information as possible about the non-member’s services.
I’d say that pretty much spells it out if you plan on becoming a WGAw member one day…
Read the 2007 Writer’s Guild West Strike Rules
Read the Writer’s Guild of America East 2007 Strike Rules
Read the AMPTP’s Frequently Asked Questions about the Writer’s Strike
Unk out.
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11 Responses to “Don’t Kill the Messenger 4”
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Unk,
Since you belong to a non-sig prodco, does that mean you’re not in the union?
Josh,
Whew… LOL. Here we go… I knew this would eventually come up…
No, I am NOT in the union nor will I ever join… Can I join?
Yup.
Will I?
Nope.
Which doesn’t mean I don’t support the WRITERS… I do.
I actually consider myself lucky since I am a writing producer and as such I really don’t need to have a union watching out for me.
No, I won’t cross a picket line and I keep having others explain to me that if it weren’t for others in the union having fought previous battles, I wouldn’t even be in the game.
Duly noted.
I received a very good piece of advice once from an A-List writer who would fucking kill me if I revealed his name since he IS a member of the WGAw.
He told me NOT to join, become a producer instead.
Best piece of advice I was ever given.
Does that mean I recommend others not to join the union if they have the credit?
Absolutely not.
Most writers (it seems) are not cut out to be a writer/producer so it makes total sense for them to join because they will benefit from the organization working for them.
Does that mean that one cannot be both a member of the WGA and a writer/producer?
Of course not.
Personally, I’m not a joiner. I joined once and did 20 years and it was enough. No more joining for me but that’s a personal decision I’ve made. Nor will our prodco ever become a struck company. That’s a decision that we’ve all made and we’ve got current deals as well as future deals in place so IT can be done.
Is it the norm? Hell no.
I won’t go into more detail than that at this time.
Having said that… We still honor the Writer’s strike.
Some writers need an organization like the WGA to watch out for them because all they want to do is write and sell what they write. Nothing wrong with that but to tell ME that I have to join anything is the wrong thing to tell me.
And that HAS been told to me.
But for anyone to say that ALL writers must join a union if they meet all the requirements…
Preposterous.
Of course if you need the protection of a union, then of course you should join.
Granted, I don’t know what it’s like being in the WGA but to be honest, I like where I’m at and it works.
I do have a hell of a lot deeper opinions about this subject… Maybe some other time when there’s not a strike going on.
I wish the WGA nothing but the best.
Unk
Nah man, I get it . . . it’s what I thought, and I’m glad you shared . . .
I’m eligible now (due to Down & Dirty) but my lawyer and manager want me to wait a bit, they don’t think I should pay now just to go stand on a picket line . . . and I already have insurance . . . so they want me to wait a bit - and it’s been gnawing at me and I’m glad you shared that.
Yeah, I support the union and what they’re doing too, and once I get some of the details ironed out with my lawyer, I’ll probably join . . . I think the union is fighting for real important things . . .
I actually would probably choose a path close to yours (I’ve directed and produced theatre, I’d be comfortable in that for film) if I had any access to a company interested in setting something up with me as you have with yours . . . I just don’t have that access at this time, but who knows what the future may hold?
But the plan, at this point, is to eventually join because it will lead to greater opportunities.
I got game, and eventually I’ll run into someone who wants to play, heh-heh . . .
Thanks man . . .
How does a non-WGA writer (like me) determine if a production company is a non-signatory or not. I mean, there are so many companies with sub-companies and other affiliations that it’s difficult to tell who is and who isn’t connected as a struck company.
Hey Unk,
I’m curious as to why would someone join the WGA? What benefits are there for someone to join? I know there are requirements in order to join, but what good can come from joining?
Thanks for your time.
Also, if someone like myself who is just write a spec script to see what good can come from it. What’s the best thing for someone to do? Once I’m finished what should I do after that? Do I go the the WGA or to someone who is independent?
I’ll be glad when the strike is over cause I’d rather talk about the craft. Ever since it started, everyone has come out. When it’s over, it’s back to tomb status.
Damnit.
Josh,
Not that I like to give out advice but let me just SAY that I think it really comes down to YOUR BELIEF IN YOUR OWN WORK. If you really believe in it, strive to improve it but willing to take criticism and then weigh that criticism and continue to improve your stuff, then certainly these kinds of opportunities will exist. It’s when somebody (and I know a lot of them) just wants to write and sell what they write that opportunities to produce become few and far between… Again, that’s just my opinion and opinions will vary. However, if you want to control your work i.e., the “development hell” that it goes through then being a producer of your own work is where it’s at.
I’ll leave it at that.
Hector…
See the link in the post or use it here:
WGA Struck prodcos
If a company is on the list — it’s a struck company. If it’s not on the list — probably NOT a struck company but to be sure, just ask.
Ryan,
Why would someone join the WGA? As I’ve already said… They want to write and just sell what they write. I should point out that for many in the upper echelon of screenwriting, the WGA really never even comes into play when it comes to negotiating the terms of a sale. Sure the WGA gets their 1%. Sure, if you qualify, you’ll get health insurance and a retirement and those are certainly things worth joining for if you’re not much of an entrepreneur and just want to get paid. It may sound like I’m downplaying the union but I’m not really — it just isn’t for ME. Not sure if I answered your question… If not, ask it again! LOL.
Now for your other questions… Again, I may not be the best person to ask because I am and have an entrepreneur spirit. The very first thing you have to do is write that break-out, kick-ass spec script. Hmmm. Actually, make that 3 to 5 break-out, kick-ass spec scripts. Reason you want more than one is because if your scripts are in fact good and worth reading, you are most certainly going to get the inevitable: “We’re gonna pass on this script, what else ya got?” 98% of the newbies CRASH AND BURN right then and there. So what can you do? Maybe you don’t have the additional scripts… What else can you do? The next best thing (in my opinion) is to have 3 to 5 high concept kick-ass ideas/pitches to pitch to the producer that passes on your script. You have to be constantly ARMED and DANGEROUS with this stuff and be ready to pull ‘em at a moment’s notice. So as a NON-WGA writer trying to market a spec DURING THE STRIKE, market to only non-struck companies. There’s a lot of them so that shouldn’t be a problem. Make a prioritized list… List the non-struck companies in order of producing the same genre that your script is and market to them first… Be sure to have several other scripts and or pitches ready when you get the “We’re gonna pass…” statement… Always be sure to ask for a referral. Asking for a referral has always done the most work for me personally. I used to ask, do you know of another producer that MIGHT be interested? I’d say that at least 50% of the time, a producer would refer me to another producer. Sometimes it was a joke and sometimes the joke backfired so use the referral no matter what… Always ask if they can recommend an agent to you (assuming you want an agent)… Almost any producer worth a shit can recommend a decent agent and always make sure that the producer says it’s okay to use their name when you contact said producer or agent. You can get a lot of mileage from this alone. Cultivate your list of contacts… i.e., call them once in a while and ask what they’re looking for. Send Christmas cards. If you know birthdays, send a birthday card. I’ve even sent nice gifts to producers that have read my work in the past… Cultivating your list of contacts can put your new work in front of a lot of people in a real short amount of time… Especially as you finish new material or even want to bounce a high concept idea off a producer THAT YOU TRUST — yes, they are absolutely out there. At one point, as I completed a new script, I was able to send out 40 plus emails/letters to let these producers know that I just finished a new script and because I had cultivated that list, I’d say that I was able to send 85% to 90% of the producers on that list my new spec because by now, they were GENUINELY interested in my work and my progress as a screenwriter. Where I got LUCKY was that one of these producers brought me on as producer for my own work. So no… Don’t send your script to the WGA except for registration… Send it to struck and non-struck prodcos when there is no strike and to non-struck when there IS a strike. Do your research on the prodco before you query them. Make sure it’s not some guy sitting in a low rent office in Cathedral City eating Taco Bell — i.e., somebody that’s actually made movies.
Christian… More on structure coming right up.
Unk
Thanks Unk,
I believe in my work and stack it up against anyone’s (and I got my 3 to 5 kickass specs, among other things) so I hear what you’re saying . . .
My plan has always been to produce and direct and control my own product, eventually . . . it’s just a question of finding the dollars to do so, which to me is more challenging than writing a good story . . . but if it was easy, then . . . you know the rest, heh-heh . . .
But it will happen eventually . . . and we’ll someday have that beer, too . . .
On the 3-5 break-out kick ass scripts. Assuming I have those. Is it better to keep them in the same category like: comedy, action, drama, etc…? Or is it good to be able to show whoever I am able to write a wide variety of scripts? I’m working on a comedy right now. Just curious what your opinion is? Thanks for being so patient with me on the stupid questions. Which to you they may be common sense. I hope you don’t mind me asking you these. I just view you as a successful screenwriter and your opinion does matter.
Thanks again.
For non-union writers, I found this list of non-signatory companies, which should still be buying scripts during the strike: http://www.ideaprovince.com/2007/12/list-of-non-str.html