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вЂњAnd to see such a stark disparity between what weвЂ™re paid and what the WGA writers are paid - I think people are fired up and they want to see a change.вЂќ вЂњWe kept studios afloat with our labor,вЂќ said writer Madison Bateman. In part thatвЂ™s due to the pandemic, which shut down live action production for several months, while animation work continued. вЂњI think thereвЂ™s definitely a lot more energy than in previous cycles,вЂќ said animation writer Gloria Shen. Many say there is also heightened interest and energy around the Animation Guild talks, which are set to run from Nov. вЂњThe best way forward for animation writers is a stronger IATSE 839.вЂќДЄnimation writers watched the recent battle over the IATSE Basic Agreement, which galvanized the membership and nearly led to an industrywide strike. вЂњOne union cannot poach from another union,вЂќ said Bill Wolkoff, a writer on both live-action and animated shows who belongs to both unions. But the animation writers on childrenвЂ™s programs are already represented by IATSE. The вЂњSimpsonsвЂќ writers were non-union when they used their tremendous leverage over Fox to win recognition under the WGA.

Otherwise I would get canned from my job.вЂќ вЂњEverybodyвЂ™s got their turf, and everybody has to defend their turf. вЂњThatвЂ™s not the way it works,вЂќ said Hulett, who heard that argument a lot during his tenure. Mike Scully, a longtime вЂњSimpsonsвЂќ writer, has recently argued on Twitter that all animation writers should be part of the WGA. One of the problems is that animation writers make up less than 10% of the Animation Guild, so itвЂ™s hard to threaten studios that the entire guild will strike on behalf of writers. вЂњThereвЂ™s no вЂfair.вЂ™ ThereвЂ™s no вЂunfair.вЂ™ ThereвЂ™s no вЂright.вЂ™ ThereвЂ™s no вЂwrong.вЂ™ ThereвЂ™s what you have the ability to get.вЂќ He said that members would sometimes complain, and he would tell them there was little he could do. Steve Hulett, who led the Animation Guild from 1989 to 2016, said he tried to win greater residuals for animation writers in 2000, but was unable to do so. The issue has been the source of turf battles in the past between the WGA and the Animation Guild, which is otherwise known as IATSE Local 839. вЂњIt feels like IвЂ™m going to rent an apartment my entire life, while my friends in live action are going to buy a house and retire early.вЂќ вЂњItвЂ™s this weird dirty little secret,вЂќ she said, adding that she sometimes has to explain that sheвЂ™s not as well off as people might think from her resume. The difference in pay scales is something that many people even in the industry donвЂ™t fully understand, said Colleen Evanson, who has written for years on вЂњDuckTales.вЂќ The WGA got into animation only when вЂњThe SimpsonsвЂќ writers voted to organize in the late 1990s, and now represents writers on FoxвЂ™s adult-oriented animated shows. The WGA stuck to live action, and was able to win better terms for its membership. The disparity dates back to the dawn of labor organizing in Hollywood, when animation writing was largely performed by storyboard artists who were part of the Screen Cartoonists Guild. Animation writers make a minimum of $2,064 per week, while WGA weekly minimums range from $4,063 to $5,185.

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