Latest on WGAW 2020 MBA Negotiations Part 8

It’s contract renegotiation time!

Specifically, it’s that time when the Writers Guild of America sits down with the Association of Motion Picture & Television Producers (AMPTP) and tries like hell to make our TV, film, and other electronic media writing lives happier, healthier, and better paying.

Even if you aren’t yet a Guild member, rest assured that the results of these negotiations are going to affect your professional TV or film writing life for years to come.

This week we’ll be bringing you the full text of the latest missives from the Writers Guild of America negotiating committee on the Guild’s position regarding more issues of importance to TV (and film) writers.

specific TV writing Problems


Dear Members,

TV series on television and streaming platforms provide the majority of employment opportunities for our members. Still, certain trends in television production and consumption, particularly on the streaming platforms, continue to place downward pressure on writer income. These include the move toward short seasons, uncertain release schedules, and the separation of writing from production itself. The perverse effect of this is that, while the content we create, now distributed worldwide to hundreds of millions of viewers, has spurred an explosion in industry profits, writers continue to fall behind. In 2014 and 2017, we began to address these issues. That work continues in this negotiation.

SPAN PROTECTION: In 2017, we negotiated safeguards to protect writers on short order series from having their episodic fees amortized over an unlimited number of weeks. But the salary cap on those provisions means that too many writers are still seeing their weekly compensation pushed toward minimum. We propose eliminating the earnings cap on span protection.

MINI ROOMS: Increasingly, writers are being asked to break an entire season of story in rooms that meet for brief periods of time and pay them only scale.  In these rooms, writers often forego their episodic fees. Weekly compensation needs to be adjusted to reflect that more work is being done in a condensed period of time and to reward the value of the content that mini room writers create. We propose to extend the highest weekly minimums – the week-to-week rate – to all writers working 24 weeks or less on short order shows. We also proposed increasing the weekly minimums for orders of 25 weeks or more.

OPTIONS & EXCLUSIVITY: Short orders and uncertain production schedules, both for series and pilots, have resulted in too many writers being held for extended periods of time, even after limited terms of employment. In today’s television market, writers need to be able to move on to the next job to make our year. Protections that were put in place over the last two negotiation cycles were a start, but they have too many exceptions. We propose that limits on options and exclusivity now extend to all writers who are not on overall deals, without regard to earnings, and that the option period not exceed 30 days. This would apply both to writers of series and pilots. Pilot writers, in particular, often find themselves in extended, impossibly burdensome holds as the gap between writing and production widens. Lastly, we propose that no writer working for fewer than 12 weeks be subject to a unilateral option.

TEAMS: The fact that TV writers working as a team are paid the same amount as individual writers does not make sense. Teams may split scripts, but they do not split time in the room. They contribute two separate voices. They work as individuals. And now, with the growing prevalence of short order series, the arbitrary penalty of working for half of minimum has become unsustainable for many teams of two. We propose a higher minimum for writers working as a team. In addition, we propose that the current pension and health benefit caps apply, not to the team as a whole, but to each writer, individually.

SCRIPT PARITY: The value of a script does not vary based on the network or service for which it is produced. The network prime time rate is affordable and easily absorbed into any episodic budget. Simply put, a script is a script is a script. We propose standardizing the value of a script at the network prime time rate.

STAFF WRITERS: A script is not worth zero because a staff writer writes it, rather than a story editor or a writer-producer. Yet, if a staff writer writes a script, they are paid nothing beyond the weekly Article 13 rate. This is an arbitrary relic of the past. Staff writers contribute both their time and their writing to the success of a show. They should be paid for both. We propose that script fees must be paid for every script, to staff writers, just like any other writer. And we propose that staff writers get on-screen credit, like all other writers on the series and, for that matter, everyone else who works on the show.

These proposals, taken together, would help ensure that TV writers secure the gains and protections they need in our booming and ever-evolving business.
In solidarity,

MBA Negotiating Committee

Michele Mulroney, Co-Chair
Shawn Ryan, Co-Chair
Betsy Thomas, Co-Chair

Liz Alper
Arash Amel
John August
Amy Berg
Ashley Nicole Black
Adam Brooks
Francesca Butler
Patti Carr
Robb Chavis
Meg DeLoatch
Travis Donnelly
Kate Erickson
Dante W. Harper
Eric Heisserer
Melissa London Hilfers
Elliott Kalan
Chris Keyser
Adele Lim
Peter Murrieta
Luvh Rakhe
Dailyn Rodriguez
Erica Saleh
Sara Schaeffer
David Slack
Lauren Ashley Smith
Meredith Stiehm
Patric M. Verrone

David A. Goodman, Ex-Officio
Marjorie David, Ex-Officio
Beau Willimon, Ex-Officio
Kathy McGee, Ex-Officio
Bob Schneider, Ex-Officio

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