{"id":1917,"date":"2023-05-18T16:14:05","date_gmt":"2023-05-18T21:14:05","guid":{"rendered":"https:\/\/capertongillett.com\/blog\/?p=1917"},"modified":"2024-11-20T10:50:27","modified_gmt":"2024-11-20T16:50:27","slug":"pay-your-damn-writers","status":"publish","type":"post","link":"https:\/\/capertongillett.com\/blog\/pay-your-damn-writers\/","title":{"rendered":"Pay your damn writers. (Or, Why You Need Screenwriters on Set During Shooting)"},"content":{"rendered":"
\n
\"An
Mini-room.<\/figcaption><\/figure>\n<\/div>\n\n\n

Currently, the Writer\u2019s Guild of America is on strike for a number of reasons, all of them perfectly valid: better pay in general, better streaming residuals specifically, better pensions and health benefits, and strictly regulating the use of AI for writing scripts. And they\u2019re battling the mini-room \u2014 when a show tries to save money by hiring just a few writers and works them hard for an abbreviated period of pre-greenlight time rather than hiring a reasonable number of writers and keeping them hired for, y\u2019know, as long as it takes to make the show. The WGA is arguing for minimum staffing of the writer\u2019s room based on the size and duration and such of the production.<\/p>\n\n\n\n

Obviously, there has been pushback from the AMPTP (the producers\u2019 union, the Alliance of Motion Picture and Television Producers) \u2014 they\u2019re unwilling to negotiate at all on this point. And during the accompanying general debate, a (n on the surface, at least) reasonable question has been raised: Why does someone get to dictate to the show how many writers have to be on staff at a given time, if they think they can operate just fine with fewer? Where\u2019s the creative freedom in all this? And why do the writers feel entitled to longer-term employment?<\/p>\n\n\n\n

The problem is that it goes beyond the number of writers the showrunner thinks they need at a given time. It\u2019s about knowingly understaffing for purposes of cheaping out, knowing precisely how much writing work is needed throughout the production process and also<\/em> knowing how much of it they can load onto the writers in an artificially limited amount of time and <\/em>how much of it they can pawn off onto some already-overworked assistant or script coordinator who doesn\u2019t have the professional capital to complain about it, without paying them more for the extra work. (And, in the near future, how much of it can be pawned off onto AI.) Technically legal, yes, but dirty, and historically, a main function of unions is to clean up the technically-legal-but-dirty stuff on behalf of their members. (And, for the record, such a mandate isn\u2019t without precedent \u2014 the Directors Guild of America has similar terms in their contracts<\/a>.)<\/p>\n\n\n\n

Just standing alone, the argument makes sense: Screw you, pay your damn writers. But it\u2019s also backed up by logic: Productions need writers on set.<\/p>\n\n\n\n

Now, I won\u2019t pretend to have a huge ton of experience in this area \u2014 I\u2019m not a full-time screenwriter, I\u2019m an advertising copywriter whose job sometimes involves writing for screen. But I do happen to have just a tiny amount of screenwriting experience for digital series, to the extent that I know firsthand how crucial it is to have a writer on set during shooting. And it probably sounds funny coming from me, since I have been (and continue to be) such a vocal proponent of remote work. But there are some things that don\u2019t really do well remote. (Not the things the return-to-office zealots are always blathering about \u2014 yes, you can collaborate creatively and mentor underlings and also celebrate people\u2019s birthdays whilst remaining remote<\/em> \u2014 but actual, substantive things.) And for a writers and<\/em> producers, that writer being on set during shooting of their script is pretty important. <\/p>\n\n\n\n

I want to make it clear that my personal experience in this area, though sufficient to give me a solid understanding of why this is so important, is vastly<\/em> insignificant compared to that of the people actually currently on the picket line, fighting for their livelihoods. But luckily, you don\u2019t have to take my word for it. This list wouldn\u2019t be possible without the unknowing contributions of John Rogers<\/a> (Leverage<\/em>, Marry Me<\/em>, et al), Albert Kim<\/a> (Nikita<\/em>, Sleepy Hollow<\/em>, et al), Sera Gamble<\/a> (You<\/em>, The Magicians<\/em>, et al), and every single member of every single production team I\u2019ve ever had the pleasure of working with. So here we go: five reasons \u2014 beyond \u201cscrew you, pay your damn writers\u201d \u2014 it\u2019s really important to have writers on set.<\/p>\n\n\n\n

1. Shit happens.<\/h2>\n\n\n\n

The scene is set outside, but whoops! It\u2019s raining, and it\u2019s going to be raining for the next two weeks (spring in Birmingham, amiright?), and you can\u2019t put off shooting this scene for two weeks, so inside it goes. Or you had a nice, battered, dystopian-looking location all arranged, but whoops! The building just got condemned. Or your scene had two characters talking quietly whilst slow dancing, but whoops! One of the actors got drunk the night before and dislocated their knee falling off a hijacked Bird scooter and is going to be delivering all lines from a seated position for the near future. You\u2019re not in \u201cminor script tweak\u201d territory, you\u2019re in \u201choly shit, rewrite\u201d territory, and it has to happen fast, and with full knowledge of what you now have to work with. Accept no substitutes \u2014 particularly not a substitute who\u2019s actually a script coordinator or showrunner\u2019s assistant doing hasty script rewrites for no extra pay on top of all the other work they had on their plate already.<\/p>\n\n\n\n

2. Actors are humans.<\/h2>\n\n\n\n

Some of them might tell you otherwise, but actors are human beings, made of human meat driven by human brains. Much of thee time \u2014 most of the time? \u2014 they\u2019re happy to deliver the lines as written. (God, I could tell you some stories about some really awesome ones I\u2019ve worked with\u2026) From time to time, you\u2019ll have an actor who doesn\u2019t want to deliver a line as written. Or one who ad libs, and it\u2019s so good<\/em> you wish you\u2019d written it that way to begin with and know in your heart it has to stay (or, alternately, they ad lib and it sucks but the director wants it to stay anyway). Or who reads the line, but with an inflection or emotion that completely changes the meaning of the line, even if the words stay the same. Having a writer on set to make all the cascading changes that can come from one minor line tweak is crucial.<\/p>\n\n\n\n

3. The writer knows what the script sounds like.<\/h2>\n\n\n
\n
\"Okay.
I don\u2019t even know what the hell\u2019s going on here, but it came up when I did a stock photo search for \u201cwriters room.\u201d<\/figcaption><\/figure>\n<\/div>\n\n\n

The person who wrote the script knows what they intended, what it sounded like in their head while they were writing it. They know what they were trying to say, even if that isn\u2019t precisely reflected in the actual words of the text. And nobody who wasn\u2019t in their head at the time knows it exactly. Obviously, the director and actors get their own creative freedom to interpret the script as they will \u2014 this is a team sport. But if a line doesn\u2019t seem to make sense, or isn\u2019t really reading right, it\u2019s good to have the person who wrote it in the first place readily available to be able to say, \u201cTry it with the emphasis on first<\/em> instead of on thing<\/em>,\u201d and the actor tries it that way and it clicks and suddenly everything is better and the shoot is back on track, or the writer tweaks the line to make more sense and suddenly everything is better and the shoot is back on track.<\/p>\n\n\n\n

4. Continuity is continuous.<\/h2>\n\n\n\n

With TV in particular, you\u2019re looking at a long run of episodes written by, generally, one writers room, often directed by any number of individuals coming in sometimes just for an episode or two. That makes the writers the greatest source of continuity in the production \u2014 the ones who know everything that\u2019s happened and everything that\u2019s going to happen. And someone needs to. Because if Famous Director Doing a Favor for a Friend decides a character needs to throw their hat in the fire in a righteous frenzy, but that hat is going to be the clue to someone\u2019s marital infidelity three episodes from now in a script that\u2019s already being developed, you need to have someone on set who knows what\u2019s going to happen three weeks from now and can clue the director in and help find a suitably dramatic alternative to the hat in the fireplace.<\/p>\n\n\n\n

Or an actor throws in an ad lib or a line reading that throws us into screwing-us-over-three-weeks-from-now territory. Or the actor decides their character\u2019s backstory involves growing up in poverty when a script they haven\u2019t gotten a chance to read yet will reference all the polo they used to play with their dad. Or<\/em>, for that matter, an actor delivers one of those so-good-it-has-to-stay line readings that could have an impact on the story moving forward. Someone has to know the future, and that someone is probably going to be the one who wrote it.<\/p>\n\n\n\n

5. Writers who\u2019ve been on set become better writers.<\/h2>\n\n\n\n

I don\u2019t think it\u2019s too<\/em> terribly self-congratulatory to say that I\u2019ve always had a pretty good ear for dialogue and have generally written pretty<\/em> good scripts. But actually being on set for the first time during a video shoot, and then all the times I\u2019ve been on set since, has made a huge difference. Watching an entire production team interacting with that script, watching the actors run lines, having to answer questions about something you wrote, making edits on the fly \u2014 it changes the way you write. It gives you a whole perspective and a whole new toolkit to work with. Hell, it teaches you exactly how long the lines you wrote actually take to deliver, and how long they take to shoot, and how the actors get really grumpy when you put too many consonants in a row. If you have screenwriters who are good and you feel you\u2019d benefit from having screenwriters who are really<\/em> good, make sure your good writers are on set while their scripts are being shot. And if you want your production to run efficiently, make sure your writers get to be on set to see how things run and how the way they write can contribute to that efficiency.<\/p>\n\n\n\n

Bonus Reason 6. Shooting stuff is expensive<\/em>.<\/h2>\n\n\n\n

Shooting stuff costs money, and that\u2019s whether it\u2019s a movie, a big TV series, a dinky little local sketch show, or a three-minute brand video. You know what costs even more money? Reshoots, because the actor threw the hat into the fireplace as instructed and there wasn\u2019t a writer on set to stop them and now it\u2019s three episodes later and there\u2019s no hat. Scenes that take forever to shoot because an actor keeps stumbling over two lines in the script. Scenes that could have been shot in two setups but instead take four because the writer had never been on a set before and didn\u2019t know exactly what it was going to take to shoot that scene as written. A production can\u2019t not<\/em> afford to avoid those ridiculously expensive screwups.<\/p>\n\n\n\n

tl;dr: The money you\u2019re saving in not<\/em> having to worry about slowdowns, delays, and reshoots far outweighs the amount of money you\u2019re paying a writer to actually be on set while shooting, instead cutting them loose the moment the show gets greenlit because you think you can go it alone..<\/p>\n\n\n\n

Real tl;dr: Pay your damn writers.<\/h2>\n\n\n\n

So anyway, yeah, if you\u2019re hearing about shooting delays on some of your favorite shows, or if they\u2019re currently off the air entirely, that\u2019s why.<\/p>\n\n\n\n

In my post about not being afraid of AI copywriting, I did include one AI-related threat to my future employment: clients who don\u2019t actually understand what I actually do for a living and think it\u2019s not worth paying for me. This is adjacent to that, but even more egregious, because the people making these decisions are fully aware of what their screenwriters actually do for a living and are trying to save money off the writers\u2019 backs regardless.<\/p>\n\n\n\n

Writers need to be part of the full production process, writers need to be on set, and writers need to be paid for the work they do. And hopefully, the AMPTP will come around to that conclusion sooner or later. Hopefully-hopefully sooner, for the sake of everyone involved.<\/p>\n","protected":false},"excerpt":{"rendered":"

Currently, the Writer\u2019s Guild of America is on strike for a number of reasons, all of them perfectly valid: better pay in general, better streaming residuals specifically, better pensions and …<\/p>\n","protected":false},"author":1,"featured_media":2867,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3,6],"tags":[30,51,61,72,74,76,77],"class_list":["post-1917","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-creativity-c","category-the-biz","tag-ethics","tag-movies","tag-screenwriting","tag-tv","tag-union-strong","tag-video","tag-well-shoot"],"yoast_head":"\nPay your damn writers. 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