After a year-long strike, the Writers Guild of America (WGA) successfully negotiated for higher wages and fundamental changes in television production. However, as the streaming boom dwindles, writers now find themselves confronted with a different crisis - a scarcity of job opportunities.

According to Justin Halpern, a WGA board member and co-showrunner of ABC's "Abbott Elementary," there is a significant decline in the number of projects being made, making it harder for writers to secure employment. While those fortunate enough to be working during this contraction are now receiving a living wage, the overall scarcity of opportunities remains a concern.

Even before the strike, the industry was experiencing a contraction, and the strike further exacerbated the issue. Although production has resumed, it remains below pre-strike levels, as reported by FilmLA. Consequently, it may take some time before the full impact of the strike is realized.

The WGA's primary objectives during the strike were to secure higher wages for entry-level writers and to implement structural changes in how television shows are produced and writers are compensated. The new contract has already resulted in increased pay for working writers. Prior to the strike, entry-level TV writers did not receive script fees; however, the new agreement has rectified this, ensuring that staff writers now receive the same compensation as their more experienced counterparts.

Furthermore, the contract introduced a higher minimum weekly pay tier for writers at the co-producer level and above, with a 15% increase in minimums. Other provisions, such as full pension and health contributions for each member of a writing team and guaranteed rewrites for film writers earning less than double the guild minimum, have also been positively received.

While these changes have started to take effect, their true impact is yet to be fully assessed. The contract now enshrines the concept of a TV "writers room" led by a showrunner, guaranteeing a minimum staffing level. It also requires the hiring of at least two writers throughout production to aid in training aspiring showrunners. These measures aim to preserve some semblance of the traditional broadcast production model in the streaming era.

Moreover, the contract restricts the use of "mini rooms," wherein showrunners would hire a few writers for a short period to develop a season of a show. Under the new terms, any "development rooms" must last for at least 10 weeks and offer 25% higher pay than standard minimums. However, concerns remain that showrunners may find workarounds to alleviate additional costs.

Additionally, a new residual system for writers on popular streaming shows is under evaluation. The WGA aimed for a model where increased viewership translated into higher pay for writers, resulting in a binary system of "hits" and "not-hits." Hit shows meeting predefined viewership benchmarks receive a one-time 50% residual bonus. However, the classification of shows as "hits" is yet to be determined.

While it is too soon to gauge the efficacy of the newly implemented rules, the WGA intends to propose a more generous formula, possibly incorporating multiple tiers of success, in the future.

As the strike concluded, it was emphasized that raising minimum rates alone would not be sufficient. The writers needed a guarantee of employment opportunities. Presently, the ability to guarantee writers' hiring remains uncertain.

As the industry navigates the aftermath of the strike and adjusts to the changing landscape, the challenges facing writers continue to evolve. The WGA's efforts have made notable strides in improving working conditions, but the coming years will reveal the lasting effects of these changes on writers and the industry as a whole.

Sources:
- "Writer's Strike: Inside the Room as Talks Collapsed," May 3, 2023.
- "'We Caused Them Pain': The Inside Story of How the WGA and AMPTP Negotiated a 'Great Deal' to End the Writers Strike," Sept. 27, 2023.