Strike 2

Plus: the Tendu Q&A recording

In the rain at WB last week.

Just a quick one today with a couple of strike-points I’ve been thinking about.

But first, a word from my very tired friend Carlos Foglia (Wolf Pack; Aeon Flux):

PaceYourselves

I would love to be on the picket line every day. It’s exciting being out there, feeling like you’re part of something, feeling like you’re actually helping the cause, even if it’s just because you’re a living body holding a sign.

But, as Caroline Renard (Secrets of Sulphur Springs) put it:

This is real. The state of the industry in these past five years has meant that most mid-level and low-level writers I know had to take or create other work to survive. Between shorter orders, smaller rooms, writers (especially writers of color) having to repeat staff level, endless free work, and the studio basically making up the rules about what constitutes a “TV show,” it’s become impossible to make a living solely by writing for the screen.

Right now, my time is crammed with deadlines for other stuff. And the other stuff is a pleasure to do, genuinely, but doing it means that I’ve had to sit out picketing for consecutive days. I’m teaching, which means reading and noting my students work and leading those classes; I’m producing The Writers Panel, which means booking and recording and editing those shows, I’m producing Dead Pilots Society which means reading and casting, and I’m launching two other podcasts because that’s one of the few things that pays the bills.

More? We have two Thrilling Adventure Hour shows coming up next month, which means not just writing or re-writing the scripts but dealing with the venue and trying to sell tickets and casting our guest stars and answering a mountain of questions from everyone everywhere all at once.

By the way, these Thrilling shows are going to be a lot of fun. If you’re in LA, please come on out! We’re doing two different shows at 7pm and 9pm—two different scripts—and the cast is hosting some pre- and post-show shenanigans. Tickets here.

If you don’t know the show, this is an easy one to jump into, as we’re doubling down on our most popular segment, “Beyond Belief,” which is “The Thin Man with ghosts.” Starring the indelible Paul F. Tompkins and Paget Brewster.

All of this on top of trying to rewrite the YA novel my lit agent is shopping and write a couple of new projects with Acker and some friends. And, you know, have a life. Watch Beef. Sell stuff on ebay. See my wife. Walk these dogs who hate me.

The utter disdain.

Just writing all of this has made me tired.

So, yeah, we all want to be out there, supporting, all of the time. But it’s just not practical. (I don’t know how anyone with kids is doing it!). So, pace yourself. I think we know that this action is going to be a long haul. I want to give as much as I can of myself, but I also want to have a self left to give.

Executive Cheat

I think it’s important to note exactly what Michael Green (A Haunting in Venice) tweeted today:

I’ve worked with—and am friends with—some terrific development execs. These are not the folks with whom the WGA has beef.

Sorry, I can’t stop thinking about it.

Our problem is with the multi-millionaires at the top of these companies. However, I’ve heard stories from both friends on the picket line and execs I know about the expectations of some development executives surrounding the strike.

A lot of execs who were in the midst of developing pitches, pilots, or features with writers are under the impression that pages will be delivered to them the day the strike ends.

This is a dangerous misconception. The strike is not a “little break” at the end of which your inbox will magically fill up with the work that’s owed to you. The strike is meant to hurt the studios by putting a halt to their pipeline of product.

So, this is not a message to my fellow writers, who I think know better than to work on projects for signatory companies during a strike.

This is a message for execs and friends-of-execs: You’re going to have to wait. The work we “owe” you is not going to show up until we get what your bosses owe us.

Consider the clock stopped. When agreements are reached, and the strike ends, it will begin again, and you’ll need to wait a few weeks, or maybe a few months, for that draft. Because we’re not going to write it until a deal is in place.

So, look ahead, and tell your bosses now that there’s going to be a lag, that there’s going to be nothing coming in when this is all over, and if they want product for next year, they’d better make a deal quick.

Otherwise:

Thanks!

Finally, just a quick thanks to those of you who’ve been reading, commenting, and supporting me and this newsletter and the Writers Panel podcast.

Thanks especially to Jeff Lane, who went above and beyond and sent me GrubHub gift card on the first day of the strike! That was such a lovely surprise. (Carousel Restaurant in Glendale thanks you too, since I went crazy and over-ordered).

Thanks too for the kind and encouraging messages I received from “Jeffool,” Rick Newkirk, Lisa Kors, Manolo, Chris Bernstorf, Jordan (@Jolliff), and others about the strike, taking the podcast independent, and the newsletter in general. I love hearing from you all.

Pretend this isn’t sarcastic.

Below is the recording of the Q&A with the “Children of Tendu”: Javier Grillo-Marxuach (The Witcher; Dark Crystal: Age of Resistance) and Jose Molina (Legacies; La Brea).

As expected, a terrific and candid conversation with two amazing writers. Lots to learn here. (This was recorded before the strike, and it’s mostly general business and process advice! Evergreen!).

If you want to give it a listen, and join our next Zoom Q&A (which should be announced soon; everything is a bit up in the air), just upgrade your subscription now: