Okay, writers, let's talk real money in screenwriting—because yes, you CAN make serious bank doing this. Now, if you're Googling "screenwriting salaries" at 2 AM hoping to find out you'll be rich by Christmas, I've got some news that'll recalibrate your timeline.
The path to making legitimate money as a screenwriter has speed bumps, detours, and the occasional sinkhole. But—and this is crucial—the destination is absolutely worth it.
Writers are making six and seven-figure paychecks. Showrunners are earning millions annually. Spec scripts are selling again (yes, really). The money is out there, and understanding exactly how screenwriters get paid means you can navigate this business smarter, not harder.
So let's cut through the Hollywood BS about screenwriting income and get into the real numbers: WGA minimums, non-union rates, spec sales, TV money, and most importantly—the actual, proven path to landing your first paid gig. Understanding the business side of screenwriting—including realistic salary expectations—helps you make smarter decisions about which scripts to develop and how to position them for professional coverage.
First, the good news: if you're a WGA member selling a high-budget screenplay, you're guaranteed at least $145,469. That's the floor, not the ceiling. For low-budget features (under $5 million), the WGA minimum sits at $77,495.
These aren't average salaries—these are the absolute lowest amounts a WGA signatory can pay you. Experienced writers regularly earn multiples of these rates. According to the Writers Guild of America's Screen Compensation Guide, "For WGA members with no WGA screen credits, the median compensation was $300,000, with the maximum reported at $700,000. Writers who have been credited on one WGA-covered film had a median one-step first draft deal of $400,000, which increased to $600,000 for writers with two or more screen credits."
Read that again. The median for first-time WGA sellers is $300K. And writers with two or more credits are hitting $600K medians, with maximums reaching $2.25 million.
So yeah, the money's real.
The WGA isn't some exclusive club designed to keep you out—it's a union that protects writers once they've proven they're working professionals. You qualify for membership by accumulating 24 "units" of credit, which typically means you've already sold or been hired to write something substantial.
Most new writers aren't making WGA rates yet because they haven't crossed that threshold. You're not locked out forever; you're just in the proving-yourself phase. And that phase? It looks different from what those minimums suggest.
Here's where things get real, and where most screenwriters actually begin their paid journey. Non-union work isn't a backup plan—it's the training ground where you build credits, relationships, and the skills that lead to those bigger deals.
Micro-budget features might pay you anywhere from $50 to $5,000. Low-budget indies range from $5,000 to $50,000. Are these life-changing numbers? Not even close. But here's what they are: credits. Produced work. Proof that someone trusted you enough to put money behind your words.
And let's talk about backend points and deferred payment. Yes, "deferred" often means "never," but not always. I know writers who've made more from backend participation on a sleeper indie hit than they did from their upfront fee on a studio project that never got made. It happens more than you think when you're strategic about which projects you attach yourself to.
"Most new writers selling an original screenplay make between $5,000 to $10,000, sometimes higher if there's a bidding war. While a huge accomplishment, that's certainly not enough to quit your day job." — Arc Studio Blog
The frame here is crucial: starting at this level isn't settling—it's building. When you're pitching to indie producers or taking on lower-budget work, having polished, coverage-approved writing samples demonstrates professionalism and helps you command better rates—even before you're WGA.
Let's demystify the option agreement because this is where a lot of confusion (and disappointment) happens.
An option is when a producer pays you for the exclusive right to develop, package, and shop your screenplay. Think of it as a reservation fee on your script. The producer gets 12-18 months (sometimes with renewal options) to attach talent, secure financing, and get the project to production. If they succeed and "exercise" the option, that's when the real payday hits—anywhere from $50,000 to $500,000+ for emerging writers.
Here's the brutal truth about option prices: they range from $0 to $10,000+ for new writers.
Yes, you read that right. Zero dollars.
Free options are incredibly common, especially for first-time screenwriters. Why would you ever accept a free option? Because that producer might attach an A-list director. Because that producer has a first-look deal at a major studio. Because that producer successfully got their last three projects made, your script is now in play with real industry players.
When Final Draft's blog covered script development deals, they emphasized that free options can lead to six-figure sales when exercised. The option itself isn't the prize—it's the doorway. But—and this matters—you want that doorway to actually lead somewhere. A free option with a producer who has no track record, no relationships, and no realistic path to production? That's just your script sitting in someone's drawer for 18 months.
Be strategic. Free options with legitimate producers who have actual production credits and industry relationships? Take them. Free options with your cousin's roommate who "knows people"? Pass.
Paid options in the $1,000-$10,000 range indicate that a producer has skin in the game. Step deals—where you're paid incrementally as the project develops—can structure out to $50K-$150K over multiple drafts. Shopping agreements often come with zero upfront money but can lead to sales when the producer packages the project successfully.
Corporate video scripts, educational content, branded entertainment—this isn't the sexy side of screenwriting, but it pays the bills while you're building your feature and TV career. Day rates for this work typically run $500-$2,500, and guess what? You're getting paid to write. You're sharpening your skills. You're building a professional reputation.
Plus, this work builds your writer résumé. When you're eventually querying managers, having consistent paid writing work (even if it's not feature films) demonstrates you're a working professional, not just a hobbyist with a dream. If you're actively looking for paid screenwriting opportunities to supplement your spec work, these gigs are everywhere once you know where to look.
Let's talk about the lottery ticket that sometimes actually wins.
The spec market—where writers sell original, already-written screenplays—went through a brutal slump for years. Studios got risk-averse. IP became king. Original ideas felt like relics of the '90s. But 2024 and 2025 have brought a genuine revival.
"This summer, major studios and streamers have purchased a total of 23 feature original spec scripts and pitches. And reports show the majority of these sales were spec scripts. What's even more amazing is that 9 of these 23 sales happened in August alone. This is the greatest monthly volume of spec sales since March 2017." – Final Draft
The spec market is back, and it's rewarding high-concept, original storytelling.
Post-strike, the industry is hungry for fresh voices and original content. Average spec sale prices for emerging writers range from $50,000 to $500,000. But the headlines? Those seven-figure sales still happen. In 2024, Alignment by previously unknown writer Natan Dotan sold to Fifth Season and Makeready for $1.25 million against $3 million.
Read that again: a previously unknown writer sold a spec for seven figures.
Your script could be next. I'm not blowing smoke here—the market is actively rewarding writers who deliver high-concept, executable ideas with strong voice and craft. Action thrillers are hot. Elevated genre is hot. Character-driven concepts that feel both fresh and familiar are selling.
Here's the reality check within the reality check: most specs become writing samples, not sales. But here's why that's still incredibly valuable—those samples get you representation, which gets you in rooms for assignments, which gets you paid.
One great spec script can change your entire career trajectory even if it never sells. It's the script that gets you a manager. It's the script that gets you a meeting at Bad Robot. It's the script that demonstrates you can deliver a 110-page story with compelling characters, tight structure, and a voice worth paying for.
The specs that sell in 2026 share common traits: high-concept hooks, clear genre positioning, relatable emotional cores, and "thumbnail pitchability" (can you describe it in one sentence with a killer mental image?). But even specs that don't sell can unlock doors worth six figures down the line.
If you want the most stable path to serious screenwriting income, television is calling your name.
Feature writers hustle from project to project. TV writers get staffed on shows and work consistent weeks with guaranteed pay. According to Backstage Magazine, "Under the union agreement, a TV staff writer working in a writers' room on a week-to-week basis will make a minimum of $5,935 a week."
Let's do that math. A staff writer on a network show working the median 35-40 weeks earns $207,725 to $237,400 minimum. That's not showrunner money—that's entry-level TV writer money.
The TV ladder looks like this:
Variety reported that the current guild minimum for a TV writer-producer sits at $7,412 per week, with median writer-producers on network shows working 35-40 weeks for total compensation of $259,420 to $296,480 at minimum rates. Experienced writer-producers negotiate well above minimum.
Showrunners—the writers running the entire show—earn high six-figures to millions per year. Ryan Murphy's overall deal with Netflix? Reportedly worth $300 million. Shonda Rhimes? $100+ million. These are the career peaks, but even mid-level showrunners on cable shows clear $500K-$1M+ annually.
Yes, streaming shows have shorter seasons (8-10 episodes vs. network's 22). This means fewer weeks of guaranteed work per show. But here's the flip side: streaming pays higher per-episode rates, and successful TV writers often work on multiple shows per year or have overall deals where they're paid to develop even when not actively staffing.
The median writer-producer on streaming shows works 20-24 weeks, earning $148,240 to $177,888 at minimum. But multiply that by two shows per year, add development fees, and suddenly you're clearing $300K-$400K+ annually.
Ready to position your TV pilot for success? Get professional script coverage that identifies exactly what's working and what needs refinement before you submit to managers and reps. Check out our TV pilot coverage services here.
Listen: your first year is probably going to be financially rough. Career coach Lee Jessup, who's guided countless writers from aspiring to professional, puts it bluntly: "The reality is that most writers begin their career receiving moderate, even minimal, fees, be they for products or services, then, over time, as they become part of the WGA and establish their brand and reputation, they build up their quote."
Research.com's 2026 career guide confirms: "Entry-level screenwriters usually start with salaries around $50,000, while those with a few years of experience earn closer to $55,000. The average annual salary for screenwriters is approximately $66,500 in 2025."
Most working screenwriters make $0-$15,000 in their first year. That's the reality.
But here's what Year Five looks like: Writers who stay strategic, keep writing, build relationships, and improve their craft are hitting $50K-$150K annually by years 3-5. Some are clearing $200K+. The writers making $250K-$500K+ annually? They all started at zero too.
Your first year is about building infrastructure: polished specs, professional relationships, contest placements, representation, and most importantly, proof that you can deliver professional-quality work consistently.
Day jobs and side hustles aren't failure—they're strategy. You're not waiting tables because you couldn't make it; you're maintaining financial stability while your screenwriting career builds momentum. Multiple income streams equal sustainability, and sustainability means you're still in the game when opportunities hit.
"You get paid in chunks, from which you have to pay taxes and percentages to all the people working for you. The money shrinks at an alarming rate. Worse, you have limited ability to predict when you'll get paid again." — John August
Freelance writing adjacent to screenwriting isn't "backup work"—it's paid practice. Content creation, copywriting, ghostwriting, script reading—these gigs pay $50-$200+ per hour, keep your writing skills sharp, and maintain cash flow while you're developing specs.
Short-form content, treatments, and pitch decks for emerging producers might pay $500-$2,500, but they also build relationships with people who'll remember you when they have real budgets. Building clips and credits that lead to screenplay work is about playing the long game strategically.
You're not waiting—you're getting paid to write while your screenwriting career builds toward the big payoffs.
Enough theory. Let's talk execution. Here's exactly how working screenwriters transitioned from unpaid to paid, step-by-proven step.
You need 2-3 feature specs or 2-3 TV pilot samples minimum. Not one brilliant script—multiple brilliant scripts. Why? Because when a manager asks, "What else you got?" you need an answer that proves you're not a one-hit wonder.
Each script is another lottery ticket, another chance someone discovers you, another opportunity for the right project to land in front of the right person at exactly the right time. Learning how to write a screenplay that's truly market-ready takes practice, and your second script will be better than your first.
Quality matters exponentially more than quantity. Three exceptional, polished, industry-ready scripts beat ten mediocre ones every single time. Before you start querying managers or entering competitions, get objective professional feedback through script coverage services to ensure your specs are truly ready for industry eyes.
Not all contests are created equal. Some are resume-builders. Some are outright scams. But certain competitions directly lead to paid opportunities, representation, and industry access.
The big ones that actually matter:
Contest wins and placements are your leverage. They're proof of quality that managers and agents can point to when they're pitching you to producers. Finalists in top-tier contests routinely secure representation and meet with production companies actively seeking new writers.
The beauty of fellowships like Sundance ($25K stipend) and Disney (full salary plus development support) is that they pay you to develop your craft while building industry relationships. Contest wins have launched countless six-figure careers—yours could be next.
Want to maximize your contest strategy? Download our FREE SCREENWRITING COMPETITION CALENDAR with deadlines, fees, and strategic submission timing for every major contest in 2026.
Managers develop writers. Agents make deals. You want both eventually, but starting with a manager who believes in your work and is willing to guide your career makes the biggest difference early on.
Query strategically. Research which managers represent writers whose work resembles yours tonally and thematically. Personalize every query. Lead with your strongest logline and any contest placements or credentials. When crafting your query letter strategy, remember that managers receive hundreds of queries weekly—you need to stand out immediately.
What reps look for: exceptional writing (obviously), clear voice, professional presentation, and evidence you're serious about building a career, not just selling one script. Contest placements + polished samples = meetings = representation = access to paid opportunities.
Once you have representation, your manager opens doors you literally cannot open yourself. They get your scripts to producers who don't accept unsolicited material. They arrange general meetings where you build relationships that lead to assignments. They negotiate your deals so you're not leaving money on the table.
Every connection is a potential pathway to your first sale. The assistant who is reading scripts today? They're tomorrow's creative executive greenlighting projects. The fellow writer you met at Austin? They might recommend you for a TV staff position next year.
LinkedIn has become surprisingly valuable for screenwriters. Connect with industry professionals thoughtfully—don't spam queries, but engage authentically with content, congratulate people on projects, and build genuine relationships over time.
Film festivals aren't just about watching movies—they're networking goldmines. Austin, Sundance, and Tribeca all offer writer access to producers, reps, and execs actively looking for talent. Go to panels. Attend parties. Have business cards. Practice your loglines until they're razor-sharp.
Informational interviews work better than you'd think. Reach out to people whose careers interest you (especially those a few steps ahead of where you are now) and ask for 15 minutes of their time to learn about their path. Most people enjoy sharing their journeys, and these conversations build relationships that can lead to referrals later.
The frame here: you're not schmoozing—you're building a professional network like any other industry. Every connection is a potential pathway to your first sale, and screenwriting is fundamentally a relationship-driven business.
Production companies that are seeking staff writers for their slate. Content mills that pay $1,000-$5,000 for video scripts. Development coordinator roles that pay $40K-$60K annually and get you inside production companies. YouTube channels that need narrative writers. Podcasts that are building scripted series.
None of this is "prestigious," but all of it is paid writing work that builds your credits, skills, and professional relationships.
Established writers all started somewhere—this is your somewhere. The writer who sold a seven-figure spec in 2024? They probably started by doing rewrites for $5K, taking corporate video gigs, or staffing on a show no one's heard of. Every paid credit is proof you're a working professional, and that's the narrative you're building.
Before you pitch to producers or submit to competitions, make sure your screenplay is pitch-ready. Our professional coverage service provides the detailed notes and industry perspective you need to elevate your script. Get your script analyzed by professional readers today.
Income diversification isn't a backup plan—it's smart business. While you're building toward consistent screenwriting work, these revenue streams keep you financially stable and professionally sharp.
Script consulting and coverage reading can earn you $25-$100+ per script. As you develop your skills, you can charge higher rates for detailed feedback. Some readers clear $3K-$5K monthly doing this part-time while writing their own specs.
Consulting for fellow writers—helping them develop concepts, break stories, or refine characters—can pay $50-$150 per hour once you've established credibility.
Online course creation offers passive income potential. Create a course on logline development, three-act structure, or character arcs, and sell it on platforms like Teachable or Udemy. Initial creation takes work, but successful courses generate income for years.
Local screenwriting workshops can pay $50-$200 per student. Host a weekend intensive on dialogue, structure, or genre—writers are hungry for education from working professionals.
University extension courses pay $2K-$5K per class. Many programs seek working screenwriters to teach introductory or specialized courses. It's a steady income, looks great on your résumé, and builds your local network.
Story editing for podcasts and YouTube channels is exploding as narrative content dominates these platforms. Rates run $1K-$5K per project, depending on scope and your experience level.
Content creation for production companies—writing sizzle reels, pitch decks, or development materials—pays $500-$3,000 per project and keeps you connected to the industry ecosystem.
Development coordinator roles pay $40K-$60K annually and get you inside production companies where you're reading scripts, attending development meetings, and building relationships with executives who greenlight projects.
These aren't "backup plans"—they're income diversification while you build. You're getting paid to stay in the screenwriting ecosystem, sharpening skills that directly apply to your spec work, and positioning yourself for opportunities as they emerge.
Let's map out what a realistic screenwriting career trajectory looks like financially:
Year 1: $0-$15,000
Years 2-3: $15,000-$50,000
Years 4-5: $50,000-$150,000+
Years 5+: Six-figures becomes realistic
The key inflection point typically happens years 3-5, when credits accumulate, relationships mature, and you've proven you can deliver consistently. This is when the "overnight success" story actually happens after years of groundwork.
"For WGA members with no WGA screen credits, the median compensation was $300,000, with the maximum reported at $700,000." — Writers Guild of America
The consensus from working screenwriters: don't quit until you absolutely have to. What does "have to" mean? When writing opportunities require full-time availability (staffed on a TV show, directed to write a feature with a tight deadline, or meetings conflicting with work schedule).
Financial advisors recommend having 12+ months of living expenses saved before going full-time freelance. Screenwriting income is irregular—you might earn $100K in three months, then nothing for six months. Budget accordingly.
Some writers never fully quit adjacent work. They teach one class per semester, consult on scripts occasionally, or maintain flexible freelance work that fills gaps between writing gigs. There's no shame in income diversification—it's smart business in an unpredictable industry.
You'll get paid in chunks, not paychecks. A $100K script sale sounds life-changing until you realize it's split across multiple drafts over 12-18 months, with agents and managers taking 10-15%, lawyers taking 5%, and taxes taking 30-40%. That $100K becomes $40K-$50K in your pocket, spread over a year or more.
Set aside 30-40% of every payment for taxes immediately. The IRS doesn't care that you won't get paid again for six months—they want quarterly estimated payments.
Open a separate savings account for taxes and another for your emergency fund. Pay yourself a "salary" from irregular income to smooth out the feast-famine cycle. Consider working with an entertainment accountant once you're earning consistently—they understand industry-specific deductions and can save you thousands.
Understanding how to pitch and sell your work includes understanding the business mechanics of getting paid and keeping money working for you in the long term.
Every showrunner earning millions started by writing specs for free. Every A-list screenwriter commanding $1M+ per script started with their first $5K indie option. Every working TV writer pulling $200K annually started as an unpaid intern reading scripts in a development office.
The path isn't easy, but it's absolutely real. Writers are making extraordinary money doing this work right now, in 2026, in an industry that's actively hungry for fresh voices and original stories.
Yes, it's hard. Yes, it takes time. Yes, there will be rejections, free options that go nowhere, contests that don't place, and scripts that don't sell. But the payoff—both financial and creative—is absolutely real for writers who stay strategic, keep improving, and remain in the game long enough for opportunities to hit.
You're not naive for wanting this. You're ambitious, and ambition is exactly what this career requires. Smart strategy + great writing + persistence = money. That's the formula. The writers earning serious money figured out that formula, and there's no reason you can't, too.
The reality of salaries is lower than the myths suggest initially, but far higher than most professional-level careers. The difference between dreamers and working screenwriters isn't talent—it's strategy, persistence, and understanding exactly how this business works.
Now you know the numbers. You know the path. You know the timeline. The question is: what's your next move?
If you're serious about professionalizing your approach and accelerating your path to paid work, the next step is getting your material to a level where industry professionals take you seriously. That means objective feedback, professional polish, and understanding exactly what's working (and what isn't) in your scripts before you start submitting them strategically.
Every working screenwriter had to land their first paid gig. Yours is coming. Make sure you're ready when the opportunity hits.
The market is hot. Specs are selling. TV rooms are staffing up. Fellowships pay real money. The money is absolutely out there for writers who do the work, make smart moves, and stay in the game. And if you're wondering which screenwriting software to use as you develop those market-ready specs, the tools matter less than the story—but professional formatting never hurts.
Now go write something worth paying for.
How to Become a Screenwriter: A Pro's Guide to Unlocking Your Career
How to Sell a Screenplay: 6 Most Popular Ways New Writers Make a Sale
How to Get a Screenwriting Agent and Manager in 10 Proven Steps
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Somebody really NEEDS to set up a Logline First Blush advisor service--not to polish Loglines --but to offer "content advice" --especially if the plotline pushes the envolpe on social issues like my script project.
Also, while I have a 8 specific BOOKS (mainly non-fiction) I want to write --I only have a few choice (maybe 5) movie ideas--so my aim is not to be a professional scriptwritter so much as it is to sell a specific one time script because of the intentsly personal subject matter.
Everybody in this industrty wants to play rockstar --Mr. important and Mr. unavailable--and it shows in the low calibre and extremely limited genre of movies being churned out by Hollywood-E.g. --Rocky 100 -- Jurassic 80 Starwars 200 and counting---so much for spectrum /varity, and creativity.
I'm at this point as I speak. Wrote a good feature film script and trying to bring it to life.
I really appreciate this information.
Thanks for reading, Curtis!
I’m finding great value in the posts and newsletters from reader pro. I’m currently a freelance screenwriter based in Atlanta. So far my career has been good to me. I’ve written a feature, hour long pilot and currently working on a miniseries (no studio attached yet). The issue that I’m facing is I have yet to receive writer’s credit. All my assignments are paid upfront (50%, 25%, 25%). Granted these are independent films and producers with budgets in the mid to low 6 figures, some projects are still in the early stages or shopping for more funds. But I still want my credit lol. Being a NON WGA member makes it difficult. Although I enjoy being a freelancer, after reading this article, I’m sure that I’d rather be a paid T.V. And feature WGA writer
Thanks Renata, and best of luck with the writing!
Love these articles. They're always so helpful and thorough. You mention writing Pro Bono. I've had a producer (who I met on Stage 32) offer me writing work on the basis of getting paid later once they've sold the work to a studio or network. I've talked to him already and he seems genuine. It seems like a great opportunity. I don't have an agent or manager yet (I'm UK based). Would you recommend me getting an agreement in writing from him so that I've got something solid to run by someone in the know?
Love these articles. They're always so helpful and thorough. You mention writing Pro Bono. I've had a producer (who I met on Stage 32) offer me writing work on the basis of getting paid later once they've sold the work to a studio or network. I've talked to him already and he seems genuine. It seems like a great opportunity. I don't have an agent or manager yet (I'm UK based). Would you recommend me getting an agreement in writing from him so that I've got something solid to run by someone in the know?
Thanks Kath 🙂 Yes, get something in writing - unless you're happy to potentially work for free.
I have an IP bankruptcy asset question about my screenplays. I am a non-union screenwriter who has never sold a script. I have produced some of my own work for the internet, but it's never actually made any money. Our bankruptcy attorney said that the trustee in Los Angeles could take my screenplays away from me if they decide those scripts might have future potential earnings. The attorney also doesn't know how to determine a $$ value of an unproduced/unlicensed screenplay to try to protect it under a wildcard exemption. Any thoughts?
With an Industry that has no set formula; no promise of success or closing a deal, no matter the merit of one's project--diamond or coal as it may be-- especially, if you can't get that diamond treatment or script though a door; it is really is comforting and refreshing to have the genuine support of a big brother network and company like Script Reader Pro. Thanks, Alex.
Thanks for the update as always. Appreciate what you all do for us. To fellow writers, continue with what gives you peace of mind
Thank you so much for this great information! I have a question for this scenario: If you are offered a writing gig to write a 130 script for a non WGA affiliated source, what is a reasonable price for writing the script under these circumstances?
Hi, I'm a young girl from Nigeria, I have read and love a few of your posts, they have helped me a lot. On this particular topic, I'm looking to pitch an idea (not a script) to a network and I'm wondering can I get paid for the idea alone or do I have to write a pilot script for it. I need an answer urgently. Thanks.
Hi Alex, thank you for all the information you provide for screenwriters, professional and aspiring. I am a published author who enjoys writing screenplays. The title of my new hardcover book is MURDER IN THE DELTA: THE EMMETT TILL STORY. I have converted it into a miniseries format. I find the information you supply to be extremely helpful in my career pursuit. Thank you so much.
Thanks for the feedback, Michael - best of luck with the script 🙂
What if you're a screenwriter from the UK? But want to sell to US, do you still need to be a member of the WGA?
If a studio wants to buy a script from a writer, it's mandatory that that writer is a member of the WGA. Not sure what the rules are regarding how UK writers join, though.
What if you're a screenwriter from the UK?
Do I need to move to LA to get a screenwriter salary thats what I want to know? We have to live where the lawyers and agents are right?
Not necessarily but it's definitely a help if you can do it.
I am going to get a screenwriter salary of 10 million dollars mwwuhahahahahahahahaaaaaaa!!!
So I pitched an idea to a network, they loved it. I am working on my first pilot season screenplay ever for tv. This was never something I knew I wanted to do, just fell into it. I have done so much work and want to be paid for it. But I also don't want to insult them. Do I ask for 30 Minute other than Network (Cable) Prime Time Teleplay $9,690 – $10,180 amount? Thanks
Congrats, Leeann! We'd need a bit more info on the situation in order to answer your question though.
Thanks for the great post
Thanks, Clarissa.
I learned a long time ago to charge, as a non-union writer, certain percentage of the film/episode budget (between 2% to 5% of the total budget). I'm from Mexico and I've been doing this for some time now (I've done it for Canadian productions as well) . What's your take on charging percentages of the budget?
Thanks for the post. Trying to figure out the actual fees at the WGA site is perplexing because they list so many different fee structures it's hard to figure out which ones really apply to certain deals. Guess it's for the agents and lawyers to sort out.
I'd also advise anyone getting a WGA deal to be proactive in asking about health benefits etc up front so you don't learn about them only after they've already expired.
FERNANDO RENDON - In a percentage deal like that I'd have a salary floor in place to guarantee what the minimum payment would be - especially considering that the producers might play "fast and loose" with the claimed budget figure. And IMHO I'd trust Canadian producers to be more honest than the average US producer in that type of deal.
I was thinnking about becoming a screenwrite but am not sure I have the skills and don't want to risk it.
What kind of screenwriter salary can you get in animation?
I just sold my first screenplay. Let the journey begin. Great article by the way, I'm going to need it.
Congratulations, Saul!
I was recommended this site in my writing group and really glad I found it. What a wealth of information.
Thanks, Manuela! Can you let us know the name of the group?
Nice post. Just about to start hawking my script around town.. Exciting!
Good luck, Lisa!
How to increase your chances of getting a hire salary as a screenwriter?
Do you mean "higher" screenwriter salary? As we say in the post, TV is potentially more lucrative.
This has cleared up so much for me about money as a writer. Thanks for taking the time to write this.
Thanks, Christina! Good to hear.
Fantastic post, just what I needed. I'm one of those writers who's had a few deals but never made enough to really break in yet so this really hit home.
Keep at it, Taylor and thanks for the shoutout.
U guys always come up such great writings for us screenwriters. I am a fan for life. Keep up the good work SRP!
Thanks, Lorraine - it's great to have you on board!
Hеllo wouⅼd you mind letting me know how much it would cost to have you read my script?
You can find a list of all our script coverage services here.
I'm a writer from Michigan and find this post strangely inspiring. Thank you!
Glad it helped, Chris!
How do I become a WGA member?
You have to apply after acquiring a certain amount of writing credits.
There is no such thing as a screenwriter salary I believe.
Nice balance brought here to the argument. Too many aspiring writers think they can just "become a screenwriter" and that's that.
Is it worth joining the wga?
It's a requirement if you're a semi-professional or pro writer.
This is the best screnwriting blog by far. You guys ROCK!
Thanks for the shoutout, Valentina!
I want to become a screenwriter can you help???
I like this. One day I will earn 1mil from writing. Mark my words.
Keep at it, Trent.
I'm confused about how much I earn as non WGA member can I call?
Perfect. I think I just found the best screenwriting advice online.
Glad to hear it, Nicky!
Ⅴery nice post. I аbsolutely agree with this and I'm a professional screenwriter with 8 years of experience.
Thanks for the endorsement, Stephan!
Tһanks for another magnificent post. This one really helped.
Im from india. Can i sell script in hollywood..if yes then How to sell..
It doesn't really matter where you're from, you just need a great script. Here's a post that may help on How To Sell A Screenplay.
I want to thank you for this, very interesting and open my eyes on what to expect as a screenwriter.
Thanks, Lorna.
Very good post. I have been wondering about screenwriter salary too. Thank you.
Thanks, Tristan.
Concisely put and well said. I'm a working screenwriter and was just googling a kind of convoluted question about payment on a guaranteed second step in one of my contracts that's gotten a bit complicated, when I came across this. While it doesn't answer my question, I wanted to thank you for the time you took to answer this for folks. You did it well. 🙂
Thanks for the feedback, really appreciate it.
Seems like it's not the best career to get rich quickly, but I'm not in for the money, writing is my passion!
enjoyed this script knowledge, thanks
You're welcome, thanks for the feedback, Pat.