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ALT
THIS^^^
And if you do get paid for your ideas/writing during the strike, that is considered scabbing and you will be barred from the WGA for life, as per this email from the Blacklist:
And, because a lot of people don't understand this bit, this is about you selling your ideas or writing to US-based TV studios or movie studios who are part of the AMPTP. There is no strike against book publishers. Nor audiobooks, graphic novels, or poetry publishing. Or just writing.
Read the above from the WGA.
Important additional note for early career filmmakers and students (like me!):
For pre-WGA writers (i.e. people who want to join WGA but cannot yet qualify / still earning early-career credits) - this FAQ by an authorized WGA representative is very helpful.
Notably, you are still allowed to:
1. Create student films to share in class
2. Upload student films to YouTube, Vimeo, Patreon, or your personal social media
3. Create indie films for *under $20,000*("micro-budget" films)
-->unlike WGA members, pre-members are still allowed to actively write and film. We are not "pens down."
4.Submit micro-budget films to film festivals
5. Send spec scripts to agents, sign with an agent
What you CANNOT do is sign any production or distribution deals. Nor can an agent submit your film or script to producers, streamers, studios, or distributors on your behalf.
This prohibition includes "major indie" studios unaffiliated with AMPTP, such as A24. Note that this is a key difference between WGA and SAG-AFTRA!
SAG-AFTRA allows student and early career actors to continue to submit reels and audition for non-AMPTP films. WGA does NOT want student writers to do this with our scripts. The WGA rep in the article gives good sample messaging if any studio or producer is interested in your script or self-published films. Emphasize that you would love to work with the studio after the strike is complete and WGA terms have been met, and you will reach back out at that time.
Essentially: as a pre-WGA member, you are allowed to do your film class homework! You are allowed to write scripts and film them yourself. You *are* allowed to self-produce, self-publish, and self-distribute your work on platforms that do not pay residuals (i.e. social media, etc).
You are NOT allowed to contribute to the pipeline of content that AMPTP studios and major streamers profit from. Do not submit or sign any deals for your scripts, nor for distribution of your independently created films.
__
Eta: direct questions and answers - this is most relevant to student + early career filmmakers.
MovieMaker: And that’s also detrimental to the agent, because they’re also going to lose money on you.
Christopher Kyle: Yes. The only thing I would say is, I would guess that agents have time on their hands right now. It may be a good time for an aspiring writer to send them a script to read. Because they may have more time to read it.
MovieMaker: Is that considered distasteful or tacky or anything?
Christopher Kyle: Tacky to sign with an agent? We’re not we’re not in conflict with agents. So if agents want to use this time to find clients that they’re then going to market in the future, I think that’s fine. But you know, they can’t start that marketing until after the strike.
MovieMaker: Got it. Okay. And there’s no conflict at all with using screenwriting platforms for coverage service?
Christopher Kyle: I don’t think so, unless their coverage service is somehow sponsored by one of the signatory companies, which I can’t imagine is the case.
MovieMaker: I get emails from contests that say, basically, “Here’s your chance to pitch your ideas to managers and agents” or to “pitch your ideas to producers.” It sounds like pitching to managers and agents is fine, but pitching to producers would clearly be out of bounds.
Christopher Kyle: Correct.
MovieMaker: Can independent filmmakers seek investors or crowdfunding during the strike?
Christopher Kyle: As long as the investments aren’t coming from a signatory company.
MovieMaker: Can independent filmmakers enter their films and film festivals during the writers strike?
Christopher Kyle: Yes, but as I said before, if they put their film in a festival and it leads to an offer of sale or option from a company that we’re striking against them, they wouldn’t be able to take advantage of that without running across the rules.
MovieMaker: So if Netflix or another signatory reached out to you and said, “We love your film, we want it,” what is the proper response? Is it no response? Or should you say, “Let’s talk when the strike is over”?
Christopher Kyle: That’s what you should say. “I really appreciate your interest in my work. I’m in solidarity with the striking writers. As soon as the strike is over, I hope to have this conversation with you then.”
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TLDR version - pre-WGA writers can write scripts, post scripts to Blacklist or social media, pitch agents, sign with agents, create mico budget films, post films to social media or your online portfolio, submit films to festivals, get direct funding for films (via Patreon, Only Fans, or Kickstarter)
The only things you cannot do are: pitch to, meet with, actively write for, or sign with an AMPTP signatory studio or streaming service.
Hope this helps others, it definitely clarified things for me 😁
In 1960, SAG and WGA struck to force management to adapt to the new technology of television. Without that strike and the agreement it birthed, residual use payments would not exist.
My parents stole nearly all of my salary from my entire childhood. My Star Trek residuals were all I had, and they kept me afloat for two decades while I rebuilt my life. I have healthcare and a pension because of my union. The AMPTP billionaires want to take all that security away so they can give CEOs even more grotesque wealth at the expense of the people who make our industry run.
To give some sense of what is at stake: There are actors who star in massively successful, profitable, critically acclaimed shows that are all on streaming services. You see them all the time. They are famous, A-list celebrities. Nearly all of those actors don't earn enough to qualify for health insurance, because the studios forced them to accept a buyout for all their residuals (decade of reuse, at the least) that is less than I earned for one week on TNG. And I was the lowest paid cast member in 1988. They want to do this while studio profits and CEO compensation are at historic highs.
I mean, if not now, when? And I haven't even touched on AI and working conditions.
We must fight for the future of our industry in the face of changing technology, the same way our elders did in 1960. So today, my Spacemom and I went to the place where it started for us, way back when, to do just that.
I see all your support. It means so much. Thank you.
never in all of my years would i have expected to characterize a company’s rebrand as “actively hostile” and “potentially endangering lives” yet here we are
for context, that X sign is dangerously bright, directly faces an entire apartment complex, and to top it all off it fucking strobes
Gonna release a hypnosis video but instead of telling you to be sluttier or whatever, it's just detailed instructions on how to play Doom (1993)
This is the only way I will ever get skilled at video games.
Not to Spirk on main, but I think the dichotomy of Spock trying to mold himself into the perfect Vulcan for T’Pring and forcing himself to be more “human” for Chapel proves that he doesn’t belong with either of them. The point of Spock has never been about cleansing himself of emotions, OR releasing that secret inner human that doesn’t exist. The point has always been for Spock to be comfortable that he doesn’t fit neatly in either box; he’s just Spock. He needs someone who makes him feel okay just being himself. And that has always historically been Kirk.
