WGA screenwriting credit system
The Writers Guild of America credit system for motion pictures and television programs covers all works under the jurisdiction of the Writers Guild of America, East and the Writers Guild of America, West. The WGA, originally the Screen Writers Guild, has since 1941 been the final arbiter of who receives credit for writing a theatrical, television or new media motion picture written under its jurisdiction.
The system has rules on how writers should be billed during the credits. A variety of credit forms can be given to indicate technicalities such as whether a writer contributed to the original source material, the chronological order of contributors working on different drafts, or whether there were writing teams. Since its inception, writers must have contributed at least 33 percent of a final script to receive credit, and only a certain number of writers can receive credit. Being credited can affect a writer's career, including their initial compensation and residuals from projects, and their reputations and potential future work.
A determination process for screen credits first sees the production company submit proposed credits; about a third of these are challenged and taken to arbitration. This process asks all writing parties involved to provide evidence and supporting statements to help determine how much of the final product was each writer's work. However, several of the WGA's arbitration decisions have been criticized by WGA members, including how the process handles existing source material that is adapted to the screen, or whether writers of a particular draft should still be credited if subsequent drafts completely removed their contributions.
Background
Rationale
Writing credits affect the career of writers, as well as their reputation and union membership.Writers trade on the reputation of their name; John Howard Lawson, the first president of the Screen Writers Guild, said that "a writer's name is his most cherished possession. It is his creative personality, the symbol of the whole body of his ideas and experience." Not having their name on a film's credits will not only cost the writer residuals, but also hinder them from finding future work, depending on the film's success. A writer may also be given a bonus if their name is in the credits, as films often have many more contributing writers than the credits show.
The credit system can affect eligibility for membership in the trade union, as one way in which a person becomes a member of the Writers Guild of America, West is by accruing "points" based on the individual's writing credits. Membership points are also accrued through employment by, or sale or option to, a company signatory to the Minimum Basic Agreement, a deal struck between the WGA and a collection of studios and production companies every three years, in which the companies agree to certain minimum fees, residuals, and other benefits for WGA writers they contract. It is negotiated by a committee of the WGA.
Screen Writers Guild credit system
The early industry had taken efforts to prevent writers from unionizing. Although the SWG was formed in 1933, it encountered resistance until May 1941, when it signed a deal with the studios that gave the Guild, among other rights, the final say on writing credits. The agreement was seen as weak, as it mostly covered the lowest paid writers, and credits were still unfairly given in the compulsory collaboration era when studios employed large numbers of independent writers on projects; at this point, the need for writers to have contributed 33 percent of the final script had been established, which left many out of credits on productions written by committee. The best paid writers, on the other hand, had always been respected and could often elect to work alone because of their status.Credits process
All writers on a project have the right to know who else has written on that project. Under the MBA a production is required to tell all new writers who has preceded them; a writer may conversely ask the production for the names of those who contributed after them. Writers also bear responsibilities to make sure they are informed, and to inform other writers on the same project that they are working for it; they must also file their contract with the appropriate Guild within a week of receiving it. For television productions of a motion picture over 90 minutes, the production company must inform, in writing, all writers of the writers who follow them.The MBA stipulates also that the production company must supply all participant writers—anyone who has contributed, or been hired to contribute, written material; anyone who has been paid for their prior written material whether purchased or licensed; anyone who contributed in any of the aforementioned ways to the original script, in the case of a remake—and the Writers Guild a notice of tentative credits, and give all participant writers a copy of either the shooting script or latest revised script, promptly upon the conclusion of photography. Any participant writer, even deceased, has the right to be involved in the credit determination process. Up to three writers, or two teams of writers in film and three teams of writers in television, may receive credit for a production. The Writers Guild has the right to protest any company's proposed credits, regardless of whether the writers do.
To determine credits, "it is vital that the writer keep copies of all work done", and submit copies to the Writers Guild promptly upon completion. Scripts as well as substantial story ideas and other literary material are counted for credit decisions. When there is more than one participant writer on a production, "all participants have the right to agree unanimously among themselves as to which of them shall receive writing credits on the screen and in what form", as long as the agreed form meets requirements. The MBA also establishes that the agreed form "shall not be suggested or directed by the Company".
The Writers Guild also officially presumes that any writer has access to all prior material written for the project during their employment, underscoring credits given to prior writers who have been removed from projects. Materials used for research are not credited, but source material as defined by the WGA receives credits. The appropriate credit to use for source material is anything indicative of the nature and relationship of the source material and the final script, with the WGA providing the examples "From a Play by, From a Novel by, Based upon a Story by, From a series of articles by, Based upon a by".
Once a writer has received both the notice of tentative credits and the final script, they can either agree with the production's tentative credits, in which case they do nothing, they can discuss the credits with the other writers through the Writers Guild, or they can challenge the tentative credits within a certain time period. If a participant writer disagrees with the credits, but there are other participants and it is seen that an agreement may be reached between them, the Screen/Television Credits Administrator must make a best attempt to arrange discussion between all writers before arbitration is sought.