A New Game In Town

This was submitted by Thania St. John, WGA member since 1988. For some additional historical context, we recommend also reading this post from Michael Russnow.
There was a green envelope in the mail Friday. A good one. Good enough to take away a little of the sting. But after my husband and I rejoiced for a moment, we realized how much larger that check would’ve been if the show that I now

This was submitted by WGA member Robert Eisele, who was present for both the strike in 1985 and the longer strike of 1988.

"Those who cannot remember the past are doomed to repeat it."
-- George Santayana, 1905

In 1988, writers endured a strike of nearly six months. In 2008, we are now approaching the halfway point of the length of that strike.

Although most Guild members in ’88 stood strong

This was submitted by WGA and DGA member Joss Whedon.

Dear Writers,

I have good news. I have lots of good news. In fact, I have way too much good news.

The strike is almost over. A resolution is days away. Weeks. Friday. Valentine's day. Two weeks exactly from whenever my manager/agent/lawyer told me. Yes, after talking to writers and actors all over town, I'm happy to report that the strike

This was submitted by WGA member Christopher Trumbo, member for 40 years, and son of WGA member Dalton Trumbo. His insights into the history of the guild are especially valuable now, as the strike continues and the AMPTP tries to divide us.

The strike is over. The WGA contract has been ratified. SAG and AFTRA are now center stage and there is still a lot of work to do before the town gets back to normal. At this moment it's useful to look back at our own history. There are lessons to be learned about how the process can move forward even against what seems like overwhelming odds. There are many who labored behind the scenes to support the writers' strike. At United Hollywood we worked with people who put their energy on the line but wanted to stay off the media's radar. Not content to just talk a good game, these are members and supporters who knew that if they wanted to make a difference, they had to work at it. One group in particular came of age during the early part of the strike: the writer-directors. Nicknamed the WD-40, forty writer-directors met to search for ways they could help facilitate the negotiation. From the beginning of the strike, most journalists accepted the AMPTP's lead and described the DGA and WGA as antagonistic to one another. Nicholas Counter was frequently quoted in the trades as preferring the DGA as a negotiating...

For the past month we've been filming interviews with writers, directors, actors, futurists, DPs, and people on the picket line, asking them to talk about the strike. Oliver Stone looked back at his years in the business, remembering how it used to be before the corporations' greed overwhelmed the movie business. Maria Maggenti told us about the importance of residuals to her career. Tony Gilroy

This was submitted by WGA member Michael Seitzman, who is currently blogging on Huffington Post as well.

I read news today of Writers Guild member John Ridley's decision to go Financial-Core to protest the Writers Guild strike. I was angry and dismayed and my original post on the issue was full of that vitriol. I thought an edit was in order so as not to let the message to get lost in a war of

WHY WE WRITE is a series of short essays by prominent TV and Film writers. Conceived by Charlie Craig and Thania St. John, the campaign hopes to inspire and inform during the strike, and perhaps beyond.

Today’s piece is written by Greg Garcia, Creator and Executive Producer of My Name Is Earl. To read it, go here.

The following was submitted by SAG board member and regular U.H. contributor Justine Bateman.

Remember how at the beginning of the WGA's negotiations, the CEOs made a threat about getting rid of residuals? Well, by my reading, the DGA deal does that for TV.

Are you ready to trade an entire year's worth of TV residuals for a one-time fee of $1,200?

Currently, writers and directors both make

Ok, so we've finally got some answers from our sources. We'll have more as the day goes on, but here's the beginning of it:

Why aren't the writers still in the room negotiating? Why are we waiting until Tuesday to continue?

Robert J. Elisberg, WGA Member and contributor to The Huffington Post, wrote a piece excerpted here called, "WGA Strike Primer: Settling a Final Debt."

It's not officially over yet, of course. There still is the matter of approving the contract. It's a 10-day process, a blink by strike standards, but long enough. Arguments of all views will be made, we do know that -- these are writers after all

This letter was just sent out to SAG members by Doug Allen (Executive Director and Chief Negotiator) and Allen Rosenberg (President). Emphases in red are from us at UH -- LK.

Dear SAG Member:

Everyone hopes the WGA strike will end with a fair deal for the writers. There has been much speculation about the impact on the WGA strike of the tentative agreement between the Directors Guild of America