I’m not a WGA member, yet, but this is a rule of thumb I believe all writers should follow. It takes action by writers at all levels to force change in an industry that consistently undervalues us. https://www.wga.org/members/workplace-matters/no-writing-left-behind It should be noted this issue is somewhat different to a writer agreeing to write “on spec” for a producer, i.e. for no upfront fee. I disagree with that practice, too, unless it’s a mutually beneficial collaboration with sacrifices being made by all.... but that’s another discussion. The bottom line for writer’s should be - don’t write for free for people who can afford to pay you. That’s exploitation. Plain and simple.
Screenwriting : No Writing Left Behind by Phil Parker
Other topics in Screenwriting:
Check out Trending Discussions
Register / Log In
1 person likes this
I'm from Sydney, Australia, I wish I read this last year before I sent notes, an outline and treatment to a US manager/producer for free.
Nathan Mudaliar - ouch. That's a lot of work for free. Were they a big producer? Is that why you thought it was worth it? Did anything come of it?
Dan, aspiring writers may not get the choice as you seem to have.
2 people like this
This is reminiscent of my work as a ghostwriter. In my world, they call it "scope creep." It's where the client asks for one more thing, one more thing, one more thing.
I wonder how long it will take for writers to step into this? And will it be difficult for some? Will it mean they don't get produced if they ask for compensation?
1 person likes this
Phil Parker sucks when Reps tell writers to do free writing for employers who have partnership deals with the same agencies producing.
2 people like this
It's obviously a slippery slope, and especially for non-WGA members trying to break into the business, and even for WGA members who aren't working regularly as writers and who may be struggling financially. I don't quite see why they use "leave-behinds" in their example, since that's pretty common in the spec world for film and for other media content, for both WGA members and non-members.
A non-WGA member wrote a blog here about a month ago, and noted how he sometimes writes work that may involve input from producers and actors, and for no payment. A WGA member scolded him for that. But if you're a non-WGA member trying to break into the business, I can understand why the non-WGA writer may do something like that - and can probably understand why a financially struggling WGA writer may do something like that as well.
It's obviously a slippery slope.
Best fortunes to you in your creative endeavors, Phil!
1 person likes this
Phil Parker – the producer had work/connections with people I admire. You gave me some good advice on the issue last year: “Since this is your IP, you were not originally hired by the producer to write it, there is almost never money involved at this stage”; “Since you're not going to get paid for this, you have to determine the cost/benefit ratio.” The benefits were indirect – joining the AWG and learning from lawyers. Now I’m better prepared for the future :-)
3 people like this
So you want to write for a living in Hollywood? Here's Amy Berg's tweets on the labor dispute between WGA members and ATA agencies.
https://twitter.com/bergopolis/status/1103851196421308417
3 people like this
part 2 from Amy Berg. this stuff is important if you want to be a union writer.
https://twitter.com/bergopolis/status/1104267556058087425
1 person likes this
If the writer is a wizard, the agent should be the magic wand. All I had to say about this!:)