Screenwriting : What is the exact reason that screenwriters don't get paid what they should? by Antonio Ingram

That begs the question - how much do you feel screenwriters should be paid? How about an autoworker, a dentist, a farm hand...? The correct answer in a free enterprise community is whatever the market will support. The better you get, the greater your rewards.

Good question.

The glamorous professions -- think movie stars, athletes..., those beautiful people in the public eye, were 'allowed' to continually make higher wages, whereas writers have the tendency to be a more reclusive sort, while these wage disparities slipped thru the cracks.

I agree with Doug. You get what you can negotiate based on your position of strength, the need for your specific brand of storytelling in the marketplace, and the team you've put together or are a part of. If you lack negotiation skills, then you need to pay for a manager, an agent, a lawyer, an accountant, and people who can help you in these areas. My early observation is that writers are so desperate to write and get paid for their craft that they settle for whatever is given to them. In tech, the person who comes up with the IP, he usually makes out the best. In Hollywood that power triangle is upside down. That can only be because the supply of people who want to write for a living, and are talented enough to be able to write for a living, exceeds the demand for the same. Either that or writers as a group are the worst negotiators in the world to accept this paradigm. But please don't cry "fair share" there is nothing that screams louder "I am a victim" than the fair share play. You get what you negotiate for in life. I'm with you Doug.

It's simply called supply and demand in a free market environment and the better your stuff is, the greater its demand.

I think some of the above is a little simplistic in terms of the current landscape and what the WGA are trying to negotiate.

I'm not WGA (or likely to be as a Brit), but I believe a large part of what the WGA are trying to address is pay in respect of aspects of an industry that are changing quickly, like digital channels, residuals in those channels, shorter series lengths and exclusivity windows etc.

As usual they are also asking for improved minimums and better contributions to the WGA Pension fund.

It's complex area with many points of contention.

The WGA West have a podcast called 3rd and Fairfax, a recent episode features the WGA's lead negotiators detailing there side of the arguement.

Back in the 90s when Joe Eszterhas was reportedly paid $4 million for an idea he scribbled on a cocktail napkin, some writers were getting rich. Rumor has it (and this is just a rumor, mind you) that Spielberg called a meeting of various high-level producers whereby they collectively agreed to stop "over-paying" for scripts. If the rumor is true it would be a case of anti-trust, to say the least. Now, I'm not saying that the rumor is true, and you'd never prove it in court if it were, but it would certainly explain why no one is getting seven figures for a script anymore.

The price of everything is based on what the market will pay. If you are not happy "just say no". Nothing is compulsory.

People who don't know their worth, never get paid what they're deserved.

I'm also aware that screenwriters get paid, Dan. But the big issue that screenwriters have spoken on is that they don't get paid what they should get paid. That is what I'm saying and that is why I made my post. I wanted to see how many answers I would get. How many the same, how many oppose, and how many have a different response completely. I hope this clears it up. I appreciate everyones response so far. I'm also very interested in that rumor, Patrick. I have to look into that one. And thank you for your strong and clear view, Doug.

Because of the AMPTP.

It's a supply-and-demand business, and the screenwriting supply vastly exceeds the screenwriting demand. Everybody in L.A. is a screenwriter. Screenwriters are frankly fortunate to earn what they do earn in WGA-related endeavors, in both salaries and in benefits.

Nearly everyone outside of the WGA world - especially those who work in low-budget/ultra low-budget films - make less for obvious reasons, and without health care and pension opportunities.

The majority of the issues associated with the WGA negotiations have more to do with television and new media writers than screenwriters. Screenwriters have their issues with health care, pensions and some residual monies, too, but the main negotiating points are mainly about what television writers earn in new media residuals, and in the shortened seasons of television and cable shows, where episodes-per-season has drastically decreased for most shows.

Antonio - you still haven't answered my question. What do YOU think screenwriters should be paid? Based on scripts that I've read; Screenwriters paid the minimum wage are vastly over paid now. Obviously there are a number of variables (overtime, maternity leave, vacation...), but since nobody has set the standard yet - so I will: Hence forward, all screenwriters shall be paid $4.20 per hour.

Do actors feel they are getting paid what they should? Not the top, A-list stars, the working actor. Do directors feel they are getting paid what they should? Do grips feel they are getting paid what they should? Do servers feel they are getting paid what they should?

Antonio, writers do get their cut, just like actors, producers and directors. This negotiation isn't about not getting a cut it's about how much. And as Bill says, it's about a new medium. The same issues from the 1985 strike (home video) and the 2007 strike (new media). As producers earn money from new sources it's important for writers (and actors and directors) to change the agreements with them.

There is an answer from the producers - they don't want to spend money they do not have to spend.

Doug, that's not an answer I have right now. That is why I asked people on here that are more seasoned to get a temperature on that. Once I have spent some consistent time in that realm, I can have that answer. And I understand your point clearly, D Marcus. Thank you for sharing, that put things fully in perspective for me there.

And I feel this post is taking a demeaning tone. It sounds like some of you are bashing screenwriters. I'm sure every screenwriter is not like what's been stated above. And yes, there are some very undeserving scripts, and films out there that get pay and distribution. I just feel like we have to moderate the tone. This is meant to be a learning experience/analysis and I don't want arguments to get started on here. Also, there's young people on here that's just starting out that might be pitching in to this post. Everybody is entitled to their opinions, but this particular post welcomes all opinions on this matter.

I'm really enjoying the conversation, I just want you all to be considerate of how you come off in your post.

Doesn't everybody feel like they're underpaid, though? Last week I had a broken toilet, and called a plumber. He fixed it in 15 minutes and charged me $300. I said "man....I'm a doctor and I don't make $300 in 15 minutes." He said, "when I was a doctor, I didn't make $300 in 15 minutes, either."

Lol, that was actually really funny, Bill. Yes, that's a fair point. I also that everyone is entitled to fight for what they feel they're entitled to.

And I feel there's a difference maker there. Who actually puts their foot down and makes that statement? So far I've seen women step. Actresses put their foot down and stated they don't get paid what they should and men get paid more. Female directors have put their foot down and stated that they're not allowed to do that many films.

My point is, yes everybody may feel like that, but it's who actually but their foot on the matter that makes a difference. Isn't that how all of our change (the changes that were for the better anyway) in America has happened?

Over many, many years, I don't recall meeting anyone who felt they were being paid enough - self included.

Dan, why is writing for a living the wrong reason? I know those aren't the exact words you used but isn't "writing screenplays for money" the same as writing screenplays for a living?

Thanks for the clarification, Dan. I believe only 1 in 4,000 screenwriters make any money writing screenplays is because they don't write marketable screenplays - not because they don't love it enough. I believe that writing screenplays for money isn't wrong (as you say) but is the right reason to write screenplays. Writing for the love of it is nice - writing with selling in mind may lead to a sale.

If a writer wanted some almost-instant gratification/recognition....adapting one's screenplay to a novel and publishing it on one of the online sites and then marketing it appropriately would definitely be the way to go.

I learned many years ago that writing for money is like setting sail in a leaky boat - it ain't gonna be a pleasant voyage. As a screenwriter, I've sold a few scripts and I've been a "well" paid staff writer - all it's ever gotten me was chump change. I built a professional career instead from which I retired with enough money/income to write, teach, produce and direct as much as I want, when I want and how I want. I don't gotta do nothin' I don't want.

I suspect you are the exception, Doug. I do not have a professional career other than writing. You are fortunate to have the money you need to live and then write only what you want to write. I write for money because THAT is my profession. It's not chump change to me, it's my living. I'd say very few people can do what you did. You are the exception.

All business negotiations follow the same basics: The most desperate folks are paid the least. If you "need" to sell your script to be able to eat you're in the worst possible position. If you're ready to walk away from the table cuz you can survive economically, while you continue to write - your position is much stronger.

D Marcus - I'm not the lucky exception; anyone can do it. Actually it's fairly easy for a young warrior. You got me thinking about where I was 20 years ago: During the 80's I traveled all over the country and my "billing rate" was $1,000/day ($750/half day) - I couldn't always get that rate, but I could come close. Today, I got a kid that does better than that. The trick is to find something that intrigues you, then become the world's most profound authority (mine was commercial RE analysis and problem solving). Anyone can do it - even a young ski bum (been there.)

Isn't this place great! Dan moved to producing, Doug built a professional career instead of writing and I make my living writing. Each comes with a different perspective. Those of you who do not write as your primary income can write for love or art or passion because you earn a living another way. We don't live in a different world, Dan, we live in the same world. No need to attempt to distance us. You earned some money writing and then moved to something else. I have stayed with writing, producing occasionally. That is not a different world, that is a different choice.

D, we're all the same - we each traveled a different path, yet here we all are, basically at the same place at the same time.