Nov 132007

The Thinking Writer received these two questions…

Simon from Chicago asks:

can wga writers write for independent features while the strike is on (as long as indie co is not signatory)?

David from Carlsbad asks:

I recently attended the Screenwriting Expo in L.A. and pitched several of my scripts successfully with positive feedback and requests to have my contact information – WGA Strike – Silence!

I, of course, support the strike and the WGA and would like to think that my barren e-mail is due to the freeze. How useless was pitching right before the strike and can I now assume that my face and loglines will be forever forgotten?

To answer your questions, I have consulted with a senior agent at a major agency (who prefers to remain anonymous) and the WGA Strike Rules. Before I answer, the usual disclaimer.

Nothing contained on this blog should be considered legal advice. These are just thoughts on a blog.

As for Simon’s question, whether a WGA member can write on a non-WGA production during the strike, the WGA Strike Rules preamble states:

The basic principle behind these Rules is very simple: you (and your agent or other representative on your behalf) may not pitch to or negotiate with a struck company, and you may not provide writing services, sell or option literary material to a struck company.

The important phrase is “struck company.” Presumably, small independent companies that are not WGA signatories are not “struck companies” and, therefore, the WGA Strike Rules do not prohibit you from providing services to these companies. Two caveats: (i) make sure the company is not a “struck company”, and (ii) the WGA may have other rules that limit what services a member can provide to non-signatories regardless of any strike. You do not want to violate those rules. You should check with the guild to find out. For WGA West, you can contact:

Erika Zucker
Writers Guild of America, West, Inc.
7000 West Third Street
Los Angeles, CA 90048
Telephone: (323) 782-4521

UPDATE: The WGAw has a list of “struck companies” here.
As for the second question, whether a non-WGA writer can pitch material to a WGA signatory during the strike and whether the company will follow up on previous pitches, WGA Strike Rule 13 provides as follows:
Rules Pertaining To Non Members

The Guild does not have the authority to discipline non members for strike breaking and/or scab writing. However, the Guild can and will bar that writer from future Guild membership.

This policy has been strictly enforced in the past and has resulted in convincing many would be strike breakers to refrain from seriously harming the Guild and its members during a strike. Therefore, it is important for you to report to the Guild the name of any non member whom you believe has performed any writing services for a struck company and as much information as possible about the non member’s services.
According to the agent I consulted, struck companies are not likely to follow up on pitches during the strike.  More importantly, you do not want to jeopardize your own future by pursuing writing assignments during the strike.  The best you can do is to drop your company contact a note indicating that you hope to follow up on your pitch when the strike is over.
I hope these answers are helpful.

 Posted by at 10:44 pm
Oct 212010

Jersey, baby.  Jersey.

Photo: dougtone @

Huffington Post blogger and author Deanni Fei gives this earnest discussion of Jersey Shore as great storytelling and recommends it for all writers. From its clear character development, its honest depiction of gender and ethnicity, its use of tension in every moment, to its tightness and efficiency. According to Fei, the story has everything that makes great writing. Wow. Maybe even Jwoww. I had no idea.

 Posted by at 10:59 pm
Jun 282005


I’m writing a movie musical and am using sort of a jury-rigged version of the standard stage musical format: songs stand on their own as one uninterrupted stream of lyrics. Is there a better way to do this, to include action? A standard way for films? I can’t find online versions of scripts for films with musical numbers in them (except Moulin Rouge, which seemed like a bad scenario, very cutty).
Any advice?
Erik from Seattle

I have no experience writing musicals. However, after making a number of inquiries, I have concluded that there is probably no longer a standard format for musicals. I received two important suggestions which may help:

1. Since the thirties, songs in movie musicals have not been uninterrupted events. Rather, the songs themselves advance the action of the story. As such, it is unlikely that the songs will be represented in the script by an uninterrupted block of lyrics. You will likely have action interwoven with the songs.

2. Some of the animated musicals (e.g. Lion King or The Little Mermaid) might be written in an acceptable format. I could not find any of them downloadable on line, but you might check with script companies like Script City to see if you can order a hard copy.

If someone reading this has more experience in this area, help….

 Posted by at 11:13 pm