Additional Writing By

This is going to be a bit of a departure from my usual blog posts. Rather than writing up a relatively objective explanation of a concept, I’m going to get a little theoretical and propose an idea I’ve had rattling around in my head about how writers are credited, particularly as it relates to the Writers Guild of America and its rules.

In particular, I want to explore possible ways to maintain the integrity of the WGA’s existing credit structure while also addressing the problem of so many Guild writers being excluded from receiving credit.

WGA Negotiations

This is just a quick note to say that I strongly recommend checking out the Negotiations Special episode (#327) of The Writers Panel podcast, for anyone interested in what’s going on with the current negotiations between the WGA and AMPTP (and really, that should probably be everyone that reads this blog).

Ben Blacker talks with former WGA President Chris Keyser, as well as other guild members about what’s going on with the negotiations and the call for a strike authorization vote. It’s incredibly informative, and clearly addresses a lot of the questions and uncertainty that writers have over the upcoming vote.

http://nerdist.com/the-writers-panel-327-negotiations-special/

Separated Rights

In my most recent post about writing credit, I mentioned that one of the perks of receiving screen credit on an original project that’s signatory to the Writer’s Guild of America is the screenwriter is entitled to something called separated rights. This post will take a look at what separated rights are and why they’re so important.

Writing Credit

For screenwriters, writing credit is a big deal. It’s a significant milestone that separates you from the majority of other working and aspiring writers out there, and there are often considerable financial benefits tied to receiving writing credit. This post will look at how writing credit is determined and what benefits are typically connected with receiving credit.