Because I Just Read the Media Bistro Newsletter

OK, I swear I'm not trying to stir shit up, but can anyone explain this impending writers' strike to me?  I've been reading everything I can about it and I've yet to either understand the problem or feel any compassion for the writers. 

(FYI, I'm about to spout off about this strike, yet I'm willing to alter my opinion if someone can please articulate why I should be on the writers' side.  But for now, I'd like Ronald Reagan to return from the grave and fire all their asses like so many ungrateful air traffic controllers.) 

Here's some more background on the issues, taken from an article written by Michael Cieply of the New York Times:

Two weeks ago, guild members authorized a walkout at their leaders’ discretion. Writers were not ordered to stop work immediately on Thursday, the first day a strike could be called. But the vote opened the way for what could become the entertainment industry’s first shutdown since 1988, when writers struck for five months, and Teamsters and other film workers staged a shorter strike.

This time, writers and producers are separated by differences over payments for the use of programs distributed through new media like the Internet and cellphones, and conflicting demands for a change in payments for the reuse of movies and TV shows on DVDs and elsewhere.

Wednesday’s meetings followed more than a week of jostling, during which producers and writers took steps toward agreement on issues like pension and health fund contributions, and the provision of first-class plane tickets for writer travel.

Earlier, the producers withdrew a contentious demand that residuals be paid only after they had recovered the cost of movies and programs. Writers made no matching step, leading to a standoff that persisted this week.

I'm sorry, but are there any authors and trying-to-be-writers out there LAUGHING THEIR FUCKING ASSES OFF RIGHT NOW? 

My, goodness, Guild Writers, I'm so sorry you have to travel business-class!  The horror!  Perhaps you'd rather build your career by driving three hours round trip in a six year old Nissan Xterra (that smells like dog) in order to attend a signing where four people show up, none of whom actually buy your book and all of whom brought their own manuscripts for you to critique.

And really?  Better health care and a pension?  As an author, I have health care and a pension. 

Because I married someone with insurance and I started a Roth IRA. 

Also, I don't get the whole digital download thing - I mean, aren't these guys technically working for an employer and thus have traded the rights to their work in exchange for a salary?  What am I missing here?

Speaking of salary, one of my buddies just took a meeting at a movie studio and learned the starting salary for TV writers is $200K.  To be fair, she also heard these Guild writers are treated really badly and people yell at them all time and there's no guarantee their shows will make it a full season. 

Again, WOW. 

That sounds WAY worse than temping for $12/hour or waiting tables while trying desperately to write and sell your own book.

I'd never claim there's no value to what these Hollywood writers bring to the table because that totally discounts how I make my living.  And personally, I'd like to buy ponies for everyone who came up with the brilliant dialog on Veronica Mars.  Conversely, have you seen Carpoolers?  Or are you now dead because killing yourself seemed like a more attractive option than ever watching another episode?

I'm just saying that without proper explanation I can't empathize with Guild members, especially when I know so many talented writers, professional and amateur, who'd not only kill for this kind of opportunity but would also knock that ball out of the fucking park.

Anyway, end of rant. 

So, now's your chance to either explain why I'm wrong, or... um... fly me out to Hollywood to discuss a temporary staff assignment.

(Business class is just fine.)

Comments

[the governor of jennsylvania]

Yes, the possibility exists that I'm salty today because until my royalty check arrives, there will be zero gala birthday week celebrations, save for a $7.00 candy bar.

[Jennifer McKenzie]

The possibility exists that the Writer's Guild may be a tad.....greedy.
I can understand the health benefits and such. But the first class tickets?
I get that they are in a "Feast Or Famine" profession (as are all writers) but I don't see how flying first class is going to improve their retirement.
Sorry. I'm a clueless on this one as you are Gov.

[Becki]

No, you are right on. It's just ridiculous - I think they get a "royalty wanna be" mentality because they want to be as rich with the perks as those on the OTHER side of the camera.

Plus, they are SO cutting off their noses to spite their faces.

Reality TV has already killed half their jobs - a strike will just lead to more reality TV.

Think about it. A strike happens - as shows are running out, for example, CBS goes into their casting archives, pulls out 12 idiots, throws them in a house and starts the elimination. No writing required. Even Julie Chen could probably wing it.

I watch exactly THREE non reality shows regularly: Chuck, Life and Samantha Who, with a smattering of CSI's. And I am the norm not the exception.

Hope they can read the writing on the wall.

Hee.

[Holly]

Agreed, jen. The amount of money thrown around H-wood is insane. I laugh harder reading your blog than any show out there. Except, of course, Family guy.

[Lys]

You summed it up in a nutshell! IMO, I am not a super reality-tv fan, but if this writer's strike causes MORE reality dumb shows to be made, I'll be watching more Food Network and things of that nature because, seriously, who really needs another Making of Menudo, right?

[Jen]

Ha! Demanding first-class tickets... really? That is almost as ridiculous as treating a book-signing as a writing workshop. (Who DOES that?!)

As someone trying to make a living in journalism who would rather be an author... screw those guys. Ugh!

[rmac]

It seems to me that the airline tickets thing could be a concession as they get further down the bargaining road.

Why shouldn't they get benefits such as pension and health care? Why shouldn't they be able to bargain over working conditions and industry standards?

There's little job security, there's a lot of inequity and not everyone makes $200k a year or travels, first class or otherwise.

Temps should have health insurance and a way to have a pension or retirement as well.

[Mary W.]

I think the issue (and I don't necessarily sympathize) is that the writer's feel their employers are making millions off the creativity of others, and not sharing equitably. Movies (and now TV shows) make FAR more on DVDs than on original releases, and the contracts that are in place have not kept up with new technologies like DVDs and downloads. I have heard on more than one occasion that studios are masters of creative accounting, claiming to make nothing or even losing money off of huge successes on TV or in the box office. On NPR today, a writer said that TV writers make about $7500 base salary per episode of a show. Hard to imagine that someone making that kind of money needs to strike, but I live in Detroit, where it used to be common for $40.00 per hour auto workers to cry poor.

[Tamara in Toronto]

Like Mary W. above me, I can understand being irked at everyone else making money off of royalties when they aren't the only (or most important) contributors to the product. Good writing is important just as good directing and good acting are important. Should they get a piece of the pie? Why not? Should they be so whiny and demand first class tickets? No. Should they be grateful for their jobs which pay well even if their writing SUCKS? YES. Considering some of the crap that gets produced, I think anyone that can help produce crap and still get handsomely compensated should be grateful, and know when to keep their mouth shut. But I think there COULD be SOME merit in what they are asking for.

[Megan from NC]

Why shouldn't these writers demand royalties on their work? Even if they are pulling in 200K a year for their writing, I'm sure the other executives are pulling in millions more. How would you feel if your publishing company printed your book in five different languages and sold them in their perspective countries and did not give you any royalties on those sales? That would be someone else profiting off of your talent.

[Alice]

You don't ask, you don't get. Why should the writers not get a fair share of the pie? Enough money is certainly made on their work.

Because temps and freelance writers don't have health insurance and pension, other writers shouldn't either? That makes no sense to me. Let's raise the standard for everyone, not chip away at it, or eventually, people at jobs like Fletch's won't have health coverage either.

Why are the writers "greedy?" No one calls movie stars greedy for asking for millions for one movie.

[TheBabblingHousewife]

I vaguely remember the previous strike (meaning I was a senior in high school at the time and didn't give a shit about anything)...but I'm a little confused by this because I've always been told that the money is in the writing...or at least in the music biz...didn't think it didn't apply to tv shows.

And...not to generalize...but don't most people in that business lean to the left of the political spectrum? And aren't they the ones that complain about overpaid exec, etc...and they're demanding first class?

Most corporations won't spring for anything other than coach if flying within the US or over to Europe...they might cough up the money for business class if going to Asia, Australia...that area. But most of the people I worked with flew enough that they got upgraded or they used some FF miles to upgrade.

[the governor of jennsylvania]

Did anyone watch My Name Is Earl tonight? Are we sure these writers aren't ALREADY on strike?

As for the issue you guys have raised, I'm delighted to have sparked a discussion.

In regard to some of your individual points, Megan asked how I'd feel if my publishing company sold my books in five different languages and I didn't see any royalties. The difference between me and the Guild writers is my publisher isn't my employer - they're my client. The work I produce is mine and foreign rights are something that are decided upon long before deals are signed.

My understanding (which may be incorrect and if it is, please tell me) is that these Guild writers are working for an employer and the original rights reside with the company who pays them. It'd be like if I worked for GE and came up with some sort of new lightbulb. Even though I invented it, the company would own the patent. Honestly, I don't have a huge problem with this because it's the employer assuming all the risk here by paying a salary, thus they're the ones entitled to reaping the most rewards.

Another difference here is that I don't have (nor would I want) the power to bring my publisher's business to a halt if they choose not to meet my terms.

I don't think the issue is they don't have pension plans and insurance - from what I've read (again, I could be wrong) they're fighting to UP what the employer contributes to each of these plans.

Alice made the point about no one calling movie stars greedy for making millions per picture. Yet the only reason movie stars make millions is because they've already proved they can earn that money back for the producers. Julia Roberts didn't start out making $20M per picture - the more she proved she was a draw, the higher her salary rose. Plus, she's a hell of a lot less replacable than a writer.

Believe me, I'm totally FOR writers being fairly compensated for their work. I want to be on the Guild's side, hence my asking for input to help me understand. Yet until someone comes up with an argument that sways me and takes into account both the value the talent brings to the table and the risk the producers take on, I'm going to continue to think Guild members aren't grateful for the opportunity they have.

[Jennifer McKenzie]

And as one who is married to a Union guy I know there's a huge difference between what the contract SAYS the worker makes an hour and what that worker takes home.
You think a regular person's paycheck is complicated. Sheesh. They have deductions for EVERYTHING on a union paycheck. Hence, the ridiculous looking hourly wage.
BUT construction workers won't strike if the company doesn't cough up designer jackets for the crane operators.
There are just some items that can be negotiated.
Often, organized labor (whether writers or loader operators) come across looking greedy because they won't concede some of the more luxury demands. If these writers would hold out for a better retirement or better health insurance, I would be much less likely to judge them.
Perception is everything. Unions need to keep that in mind.

[The House and I]

This is not about the guy making $200,000 a year, striking because he wants a first-class ticket. It's about people trying to make a living, and getting an industry to share new profit-streams fairly, with the folks who create the content that brings in that profit to begin with.

There is a delicate area in the middle -- somewhere between "working some other job that actually pays and telling yourself that really you're a writer," and "being a best-selling author married to somebody with health insurance" -- in which there are (gasp!) people who actually earn a daily wage by stringing words together. And it don't pay much.

Remember, most writing jobs are one-shot deals that pay in four- or low five-figures. The big numbers you throw around are like football numbers: what may seem like a lot of money in a lump sum to those of us sitting at home drooling, isn't as much as it sounds once you pay your agent and taxes and union dues and buy your own insurance and then have to live on it for five years before another job materializes.

And to the comment above regarding how "the only reason movie stars make millions is because they've already proved they can earn that money back for the producers" I say: they're not exactly paying millions of dollars to writers who haven't earned their stripes yet.

And as far as Julia Roberts being "a hell of a lot less replacable than a writer," here's a short list of movies she was replaced in: Cold Mountain (Nicole Kidman), Shakespeare in Love (Gwyneth Paltrow), Sleepless in Seattle (Meg Ryan), Basic Instinct (Sharon Stone).

I'm not saying actors don't deserve their props. I'm not even saying that I don't love Julia. But I think those well-written -- and some even Oscar-winning -- roles managed to do just fine without her, don't you think?

If you liked them, thank a writer. And thank whoever paid them enough for the twenty years leading up to that moment so that they could afford to get there.

[Kim]

This is my issue. I worked at a very high end boutique slinging $7,000 bridal gowns to spoiled girls and $5,000 evening gowns to bored CFOs. I made $12/hour and no commission. My boss was buying Manolo Blahniks, flying off to New York multiple times a year, and getting free clothes. Fair? No. I was making her money hand over fist and getting nothing back. But she was my boss. But it still sucked. So I quit. I get being pissed off and bitter (and that this is a far-reaching analogy), but come on.

Are these people really going to subject America to a revamped "Temptation Island" and even more of Brett Michael's hair plugs on "Rock of Love 5: Heather Strikes Back"?

I have a feeling there are tons of scabby writers waiting in the wings...maybe they can make better use of Kristin Bell's casting on "Heroes." Because homegirl sure isn't getting her due right now.

[Sils]

Okay, so, I've been listening to a lot of NPR and talking to my boyfriend about this and I heard a pretty interesting interview with a guy who is a writer and who is probably going to wind up on strike but wasn't a lunatic yesterday...

He said that yes, network writers take home a six figure salary BUT that it depends on what happens to the show. Say someone is a sitcom writer they make, on average, about 7500 per episode for a 22 episode season -- if the show lasts the entire season. They also get a stipend if a show is put into reruns. If a show is cancelled it can be a very, very long time before a writer gets another job, or if a writer sells a movie script -- it can be a very long time before s/he sells another, during that time they need to live on what they've made and the residuals.

The whole thing with DVDs and digital downloads is a kind of, "Wait a minute..." because everyone else involved in the process is getting a cut and fighting for their fair share -- directors and actors are all fighting fopr a piece of the pie (and at least in the director's case they've managed to get it). The writers are being treated like second class citizens in a first class world where, let's face it, if they didn't write the stuff it wouldn't happen -- if they do go on strike and we're stuck with a crap ton of reality television I think we'll see just how important they are.

The guy did say, and this is what made me step back and ty to see it from their (the writers' points of view) that he doesn't expect a lot of sympathy from the american public on the basis of wage, and that the plight of the hollywood writer is nothing in comparison to that of a coal miner but that the thought the american public had a respect for the idea that if you make something and someone else takes that idea and turns it into a billion dollar industry (in respect to some films especially) that you should get a cut of that. I understand that. If I wrote a show and someone cashed in on my ideas being turned into electronic shorts I would want a cut, it wouldn't matter if I already made 200k a year.

[Heather B.]

You know how we have a whole list of things that we can't discuss if we ever get together and drink? I'm going to add collective bargaining to that list.

But don't worry, we can still discuss wine and dogs and 101 reasons for why I love my pearls. Just not universal health care and unionzing.

[HebsFarm]

If Ronald Reagan is going to be rising from the grave, I've got a LONG list of stuff I'd like him to work on before he would even get near this issue.

[the governor of jennsylvania]

Thanks for the perspective, guys!

I just realized the only stuff I read about the strike comes from journalists who likely still have the debt the incurred from when they were making $25/article, breaking into the business. It's possible they have trouble being sympathetic and impartial when summing up the situation, too.

Also, keep in mind until I found out I had to take and PASS Econ 201, I was an Organizational Leadership major with a specialty track of Labor Relations. My career aspiration was to break unions. There's a possibility my perspective may be influenced by this.