Week-to-week WGA

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  • Week-to-week WGA

    hey all, couple of random questions...

    - does anyone have any experience doing a WGA week-to-week rewrite? I am trying to figure out the difference between a 2 week commitment, which could quickly turn into a 3, or 4 week commitment, versus a flat rewrite deal which is much more common. is there a difference in how much I am being asked to work, or in how I should deliver the materials?

    - re: rewrites... how is additional credit determined? is it simply a matter of submitting the new draft (with my changes) to the WGA and letting them decide, or should my credit be clarified in the contract? Is there a possibility that, no matter how much the new writer has contributed, he/she will not be credited? I understand if you get paid $1 million to do a last minute ghostwriting gig, you give up that right... but at the rate I am being asked to work, getting credit would be a huge motivating factor.

  • #2
    Re: Week-to-week WGA

    I've never heard of a WGA rewrite deal expressed in week-to-week terms. Usually a 6 or 8 week window for a job at WGA minimums.

    Are you talking about a contract for a polish pass? I could see that in two weeks. But I'd still expect it to be expressed per-job not a per-week.
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    • #3
      Re: Week-to-week WGA

      Weekly deals usually go to experienced writers whose job is to clean up a script going into production. It's rarely a thing for relatively inexperienced writers.

      Credit is determined by the WGA. The producers will submit their proposed list of credits, and the guild will notify the writers involved. If you disagree, you can request an arbitration, after which case there's a process where you submit various drafts and make an argument.

      As for what you should take, I'm gathering that you're relatively inexperienced, so here's my advice:

      Take the deal that puts you in the best situation to succeed creatively. Don't try to squeeze out a few extra dollars. Err on the side of giving yourself a margin for error.

      Most writers find week-to-week deals extremely difficult, because the producers obviously don't want to hire you on for that extra week, so there tends to be a barrage of notes and you're turning in pages that are pretty raw. You don't get that extra day or two (or five) to think about what you've written before you show it to them. From my understanding (having not had one of these deals, so this may not be the universal experience) you're often writing scenes, handing them in, and having them give lots of notes right away. Their needs are paramount, not your creative process. Expect it to be exhausting.

      Good luck.

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